She felt that it was her other self, and that she had the will to resist, even then, and that the will must still be supreme over the illusion. Never, it seemed to her, had she made such a supreme effort, never had she felt such power concentrated in her strong determination, never in all her life had she been so sure of the result when she had willed anything with all her might. Every fibre of her being, every nerve in her body, every throbbing cell of her brain was strained to breaking. The two faces were quite close, the longing lips had almost met--nothing could hinder, nothing could save; the phantasms did not know that she was watching them.

Suddenly something changed. She no longer saw herself in a vision, she was herself there, somewhere, in the dark, in the light--she did not know--and there was no will, nor thought, nor straining resistance any more, for Lamberto Lamberti held her in his arms, her, Cecilia Palladio, her very living self, and his lips were upon hers, and she loved him beyond death, or life, or fear, or torment. Surely she was dying then, for the darkness was whirling with her, spinning itself into myriads of circles of fiery stars, tearing her over the brink of the world to eternity beyond.

One second more and it must have ended so. Instead, she was leaning back in her chair, between the moonlight and the steadily burning candles, in her own room, alone. From head to foot she trembled, and now and then drew a short and gasping breath. Her parted lips were moist and very cold. She touched them, and they felt like flowers at night, wet with dew. She pushed the hair from her forehead, and her brow was strangely damp.

She sprang to her feet with a cry of terror, and stared at the door, for she was quite sure that she had heard it close softly. It was a heavy door, that turned noiselessly on its hinges and fitted perfectly, and she knew the soft click of the well-made French lock when the spring quietly pushed the bevelled latch-bolt into the socket. In an instant she had crossed the room and had turned the handle to draw it in. But the door was locked, beyond all doubt--she had turned the key before she had sat down in the chair. She felt intensely cold, and an icy wave seemed to lift her hair from her forehead. Her hand instinctively found the white b.u.t.ton, close beside the door-frame, which controlled all the electric lamps, and pushed it in, and the room was flooded with light.

She must have imagined that she had heard the sound that had frightened her.

Half dazed, she moved slowly to the windows, and closed the inner shutters, one by one, shutting out the cold moonlight, then stood by the chair a moment, looked at it, and glanced in the direction whence the vision had come to her out of the shadow.

She did not know how it happened, but presently she was lying on her bed, her face buried in the pillows, and she was tearing her heart out in a tearless storm of shame and self-contempt.

What right had that man whom she had so often seen in her dreams to be alive in the real world, walking among other men, recognising her, as she had felt that he did that very afternoon? What right had he to come to her again in the vision and to change it all, to take her in his violent arms and kiss her on the mouth, and burn the mark of shame into her soul, and fill her with a pleasure more horrible than any pain? Was this the end of all her girlish meditation, of the Vestal's longing for higher things, of the mystic's perfect way? A man's brutal kiss not even resisted? Was that all? It could not have been worse if on that same day she had been alone with him in the garden, instead of with Guido d'Este, and if he had suddenly put his arms round her, and if she had not even turned her face from his.

It was only a dream. Yes, to-morrow she would awake, if she slept at all, and the sunshine would be streaming in where the moonlight had shone, and it would only be a dream, past and to be forgotten. Perhaps.

But what were dreams, then? She had not been asleep, she was quite sure.

There was not even that poor excuse. The man's phantasm had come to her awake.

And Lamberto Lamberti was nothing to her. Beyond the startling recognition of a face long familiar, but never seen among the living, he was to her a man she had met but once, and did not wish to meet again.

She had been aware of his presence near her at the Princess's, and when he had gone away she had looked at him once more with a sort of wonder; but she had felt nothing else, she had not touched his hand, the thought that he would ever dare to seize her roughly in his arms brought burning blushes to her cheek and outraged all her maiden senses. She had never seen any man whom she could suffer to touch her; her whole nature revolted at the thought. Yet, just now, there had been neither revolt nor resistance; she felt that she had been herself, awake, alive, and consenting to an unknown but frightfully real contamination, from which her soul could never again be wholly clean.

The storm subsided, and sullen waves of self-contempt swelled and sank, as if to overwhelm her drowning soul. She understood at last the ascetic's wrath against the mortal body and his irresistible craving for bodily pain.

CHAPTER IV

Very early in the morning Cecilia fell into a dreamless sleep at last, and awoke, unrefreshed, after nine o'clock. She felt very tired and listless as she opened the window a little and let in the light and air, with the sounds of the busy thoroughfare below. The weather was suddenly much warmer, and her head was heavy.

It had all been a dream, no doubt, and was gone where dreams go; but it had been like a fight, out of which she had come alive by a miracle, bruised and wounded, and offended in her whole being. Never again would she sit alone at night and look for her image in the shadow, since such things could come of playing with visions; and she trusted that she might never again set eyes upon Lamberto Lamberti. She was alone, but at the thought of meeting him she blushed and bit her lip angrily. How was it possible that he should know what she had dreamt? For years, in that dream of the Vestal, a being had played a part, a being too like him in face to be another man, but who had loved her as a G.o.ddess, and whom she had loved for his matchless bravery and his glorious strength over himself. It was a long story, that had gradually grown clear in every detail, that had gone far beyond death to a spiritual life in a place of light, though it had always ended in something vaguely fearful that brought her back to the world, and to her present living self, to begin again. She could not go over it now, but she was conscious, and to her shame, that the spell of perfect happiness had always been broken at last by the taint of earthly longing and regret that crept up stealthily from the world below, an evil mist, laden with poison and fever and mortality.

That change had been undefined, though it had been horrible and irresistible; it had been evil, but it had not been brutal, and it had thrilled her with the certainty of pa.s.sion and pain to come, realising neither while dreading and loving both.

She had read the writings of men who believe that by long meditation and practised intention the real self of man or woman can be separated from all that darkens it, though not easily, because it is bound up with fragments, as it were, of the selves of others, with all the inheritances of a hundred generations of good and bad, with sleeping instincts and pa.s.sions any of which may suddenly spring up and overwhelm the rest. She had also read that the real self, when found at last, might be far better and purer than the mixed self of every day, which each of us knows and counts upon; but that it might also be much worse, much coa.r.s.er, much more violent, when freed from every other influence, and that coming upon it unawares and unprepared, men had lost their reason altogether beyond recovery.

She asked herself now whether this was what had happened to her, and no answer came; there was only the very weary blank of a great uncertainty, in which anything might be, or in which there might be nothing; and then, there was the vivid burning fear of meeting Lamberto Lamberti face to face. That was by far the strongest and most clearly defined of her sensations.

If the Princess Anatolie could have known what Cecilia felt that morning, she would have been exceedingly well pleased, and Cecilia's own mother would have considered that this was a case in which the powers of evil had been permitted to work for the accomplishment of a good end.

Nothing could have distressed the excellent Countess more than that her daughter should accidentally fall in love with Lamberti, who was a younger son in a numerous family, with no prospects beyond those offered by his profession. Nothing could have interfered more directly with the Princess's sensible intentions for her nephew. Perhaps nothing could have caused greater surprise to Lamberti himself. On the other hand, Guido d'Este would have been glad, but not surprised. He rarely was.

In the course of the day he left a card at the Palazzo Ma.s.simo for the Countess Fortiguerra, and as he turned away he regretted that he could not ask for her, and see her, and possibly see her daughter also. That was evidently out of the question as yet, according to his social laws, but his regret was real. It was long since any woman's face had left him more than a vague impression of good looks, or dulness, but he had thought a good deal about Cecilia Palladio since he had met her, and he knew that he wished to talk with her again, however much he might resent the idea that he was meant to marry her. She was the first young girl he had ever known who had not bored him with plat.i.tudes or made conversation impossible by obstinate silence.

It was true that he had not talked with her much, and at first it had seemed hard to talk at all, but the ice had been broken suddenly, and for a few minutes he had found it easy. As for the chilling coldness of her last words, he could account for that easily enough. Like himself, she had seen that a marriage had been planned for her without her knowledge, and, like him, she had resented the trap. For a while she had forgotten, as he had done, but had remembered suddenly when they were about to part. She had meant to show him plainly that she had not had any voice in the matter, and he liked her the better for it, now that he understood her meaning.

She was like the Psyche, he thought, and it occurred to him that he could buy a cast of the statue. He had always thought it beautiful. He strolled through narrow streets in the late afternoon till he came to the shop of a dealer in casts, of whom he had once bought something, and he went in. The man had what he wanted, and he examined it carefully.

She was not like the Psyche after all, and the crude white plaster shocked his taste for the first time. If the marble original had been in Rome, instead of in Naples, he could have gone to see it. He left the shop disappointed, and walked slowly towards the Farnese palace. The day seemed endless, and there was no particular reason why all days should not seem as long. There was nothing to do; nothing amused him, and n.o.body asked anything of him. It would be very strange and pleasant to be of use in the world.

He went home and sat down by the open window that looked across the Tiber. The wide room was flooded with the evening light, and warm with much colour that lingered and floated about beautiful objects here and there. It was not a very luxuriously furnished room, but it was not the habitation of an ascetic or puritanical man either. Guido cared more for rare engravings and etchings than for pictures, and a few very fine framed prints stood on the big writing table; there was Durer's Melancholia, and the Saint Jerome, and the Little White Horse, and the small Saint Anthony, and Rembrandt's Three Trees, all by itself, as the most wonderful etching in the world deserved to be; and here and there, about the room, were a few good engravings by Martin Schongauer, and by Mantegna, and by Marcantonio Raimondi. The bold, careless, effective drawing of the Italian engravers contrasted strongly with the profoundly conscientious work of Schongauer and Lucas van Leyden, and revealed at a glance the incomparable mastery of Durer's dry point and Rembrandt's etching needle, the deep conviction of the German, and the inexhaustible richness of the Dutchman's imagination.

A picture hung over the fireplace, the picture of a woman, at half length and a little smaller than life, holding in exquisite hands a small covered vessel of silver encrusted with gold, and gazing out into the warm light with the gentlest hazel eyes. A veil of olive green covered her head, but the fair hair found its way out, tresses and ringlets, on each side of the face. The woman was perhaps a Magdalen, not like any other Magdalen in all the paintings of the world, and more the great lady of the castle of Magdalon, she of the Golden Legend. When Andrea del Sarto painted that face, he meant something that he never told, and it pleased Guido d'Este to try and guess the secret. As he glanced at the canvas, glowing in the rich light, it struck him that perhaps Cecilia Palladio was more like the woman in the picture than she was like the Psyche. Then he almost laughed, and turned away, for he realised that he was thinking of the girl continually, and saw her face everywhere.

He turned away impatiently, in spite of the smile. He was annoyed by the attraction he felt towards Cecilia, because the thought of marrying an heiress, in order that his aunt might recover money she had literally thrown away, was grossly repulsive; and also, no doubt, because he was not docile, though he was good-natured, and he hated to have anything in his life planned for him by others. He was still less pleased now that he found himself searching for reasons which should justify him in marrying Cecilia in spite of all this. Nothing irritates a man more than his own inborn inconsistency, whereas he enjoys diabolical satisfaction in convicting any woman of the same fault.

After all, said his Inclination, as if coolly arguing the case, if poor men were only to marry poor girls, and rich men rich ones, something unnatural would happen to the distribution of wealth, which was undesirable for the future of society. Of course, a rich man might marry a poor girl if he chose. That was done, and the men who did it got an extraordinary amount of credit for being disinterested, unless they were laughed at for falling in love with a pretty face. If anything could prove the hopeless inequality of woman with man, it would be that! No one thought much the worse of a penniless girl who married for money, whereas a starving dandy who did the same thing immediately became an object of derision.

But then, added the Inclination, with subtlety, the opinions of society were entirely manufactured by women for their own advantage, and that was an excellent reason for not caring what society thought. The all-powerful, impersonal "they," of whom we only know what "they say,"

what "they wear," and what "they pretend," are feminine and plural; they rule all that region of the world within which women do not work with their hands, and are therefore at full liberty to exercise those gifts of intelligence which it has pleased Providence to bestow upon them so plentifully. They do so to some purpose.

Surely, argued Inclination, it was not very dignified of Guido to care much, and to care beforehand, for the opinions of a pack of women, supposing that he should come to like Cecilia enough to wish to marry her for her own sake. And besides, though he was poor, he was not uncomfortably so. Poverty meant not having horses and carriages, nor a yacht, and living in bachelor's rooms, and not giving dinner parties, and not playing cards, and not giving every woman whatever she fancied, if it happened to be a pearl or a pigeon's blood ruby. That was poverty, of course, but it was relative.

If his aunt did not drive him to blow out his brains in a fit of impatience, there was no reason why Guido should not go on living, as he lived now, to the far end of a long and sufficiently well-fed life. And if he married Cecilia and her fortune, it would certainly not be because he wished to give other women rubies and pearls, nor for the sake of keeping a couple of hunters, two or three carriages, and a coach; still less, because he could ever wish to lose money again at baccara, or poker, or bridge. He had done all those things, and they had not amused him long. If he ever married Cecilia, it would be because he fell in love with her, which, thank goodness, had not happened yet. Inclination was quite sure of that, but was willing to admit the possibility in the future, merely for the sake of argument.

Before it was time to dress for dinner that evening, Guido received a long letter from his aunt, written with her own hand, which probably meant that Monsieur Leroy knew little or nothing of its contents. Guido glanced at the pages, one after another, and saw that the whole letter was in the writer's most affectionate manner. Then he read it carefully.

It had been so kind of him to be civil to her friends on the previous day, said the Princess. He reminded her of his poor father, her dear brother, who, in all his many misfortunes, had never once lost his beautiful affability of temper and unfailing courtesy to every one about him.

This was very pretty, but Guido had heard that his father's beautiful affability had sometimes been ruffled so far as to allow a certain harmless violence, such as hurling a light chair at the head of a faithful courtier and friend who gave him advice that was too good to be taken, or summarily boxing the ears of his son and heir when the latter was already over thirty years old.

Guido sometimes wondered why he had not inherited some of that very unroyal temper, which must have been such a thoroughly satisfactory relief to the ex-king's feelings. He never felt the least desire to dance with rage and throw the furniture about the room.

His aunt's letter was evidently meant to please him and flatter his vanity, and she did not once refer to matters of business. She asked his opinion about a new novel he had not read yet, and had he thought of leaving a card on the Countess Fortiguerra? She lived in the Palazzo Ma.s.simo. What a strange girl the daughter was, to be sure! so very unlike other girls that it was almost disquieting to talk with her. Of course there was nothing real behind all that superficial talk about lectures at the Sorbonne, and Nietzsche, and all that. Everybody pretended to have read Nietzsche nowadays, and after all the girl might be quite sensible. One could not help wondering what she would make of her life, with her handsome fortune, and her odd ideas, and no one to look after her except that dear, gentle, sweet-tempered, foolish mother, who was in perpetual adoration before her! It would be a brave man who would marry such a girl, the Princess wrote, in spite of her money; but there was this to be said, he would not have any trouble with his mother-in-law.

Subtle, very subtle of the Princess, who left the subject there and ended her letter by asking a favour of Guido. It was indeed only for the sake of asking it, she explained, that she was writing to him at all.

Would he allow a great friend of hers to see his Andrea del Sarto? It was the celebrated art critic, Doctor Baumgarten, of whom he had heard.

Leroy would bring him the next morning about ten o'clock, if Guido had no objection. He need not answer; he must not take any trouble about the matter. If he had an engagement at ten, perhaps he would leave orders that the Doctor should be allowed to see the picture.

Guido did not think at once of any good reason for refusing such a request. He was very fond of his Andrea del Sarto; indeed, he liked it much better than a small Raphael of undoubted authenticity which was hung in another part of the room. The German critic was quite welcome to see both, and perhaps knew something about prints which might be worth learning. He was probably writing a book. Germans were always writing books. Guido wrote a line to thank his aunt for her letter, and to say that her friend would be welcome at the appointed hour.

He was sealing the note when the door opened and Lamberto Lamberti came in.

"Will you come and dine with me?" he asked, standing still before the writing table.

"Let us dine here," answered Guido, without looking up, and examining the little seal he had made on the envelope. "I daresay there is something to eat." He held out the note to his servant, who stood in the open doorway. "Send this at once," he said.

"Yes," said Lamberti, answering the invitation. "I do not care whether there is anything to eat or not, and it is always quiet here."

"What is the matter?" asked Guido, looking at him attentively for the first time since he had entered. "Yes," he added to his man, "Signor Lamberti will dine with me."

The servant disappeared and shut the door. Guido repeated his question, but Lamberti only shook his head carelessly and relit his half-smoked cigar. Guido watched him. He was less red than usual, and his eyes glittered in the light of the wax match. His voice had sounded sharp and metallic, as Guido had never heard it before.

When two men are intimate friends and really trust each other they do not overwhelm one another with questions. Each knows that each will speak when he is ready, or needs help or sympathy.

"I have just been answering a very balmy letter from my aunt," Guido said, rising from the table. "Sweeter than honey in the honeycomb! Read it. It has a distinctly literary and biographical turn. The allusion to my father's gentle disposition is touching."

Lamberti looked through the letter carelessly, dropped it on the table, and sucked hard at his cigar.

"What did you expect?" he asked, between two puffs. "For the present you are the apple of her eye. She will handle you as tenderly as a new-laid egg, until she gets what she wants!"