with stern emphasis.
He was already leading Angela to one of the nearest of the high-backed chairs that stood ranged against the dark-green wall of the hall. She sat down, steadying herself by his arm.
'Run over by a motor car almost at his own door,' said the Marchesa, in a lower tone and in English, as she turned slightly towards Durand. 'Killed on the spot! It is too awful! My poor brother-in-law!'
'Get some brandy and some cold water,' said the artist to his man, watching the girl's pale face and twitching hands.
'Yes,' said Giovanni, who was bending over her anxiously. 'Bring something quickly! She is going to faint.'
But Angela was not fainting, nor even half-unconscious. She had felt as if something hard had struck her between the eyes, without quite stunning her. She attempted to get up, but realised her weakness and waited a moment before trying again. Then she rose to her feet with an effort and stood straight and rigid before her aunt, her eyes quite open now.
'Come!' she said, almost imperiously, and in a voice unlike her own.
In a moment they were gone, and the artist was standing before the portrait he had finished, looking into its eyes as if it were alive. He had been deeply shocked by what had just happened, and was sincerely sorry for Angela, though he had not the least idea whether she had loved her father or not, but his face was calm and thoughtful again, now that she was gone, and expressed a quiet satisfaction which had not been there before. For it seemed to him that the picture was a precious reality, and that the young girl who had sat for it was only nature's copy, and not perfect at that; and perhaps the reality would not be taken from him, now, since Prince Chiaromonte had come to an untimely end; and the prospect of keeping the canvas was exceedingly pleasing to Filmore Durand. He had never painted anything that had disappointed him less, or that he was less willing to part with, and during the last day or two he had even thought of making a replica of it for the Prince in order to keep the original, for no copy, though it were made by himself most conscientiously, could ever be quite so good. But now that the Prince was dead, it was possible that the heirs, if there were any besides Angela, would be glad to be excused from paying a large sum for a picture they did not want. He was sure from the young girl's manner that she would no more care to possess a portrait of herself than a coloured postcard of the Colosseum or a plaster-cast of one of Canova's dancing-girls. This was not flattering to the artist, it was true, but in the present case he would rather keep his own painting than have it appreciated ever so highly by any one else.
Late in the afternoon he stopped before the closed gateway of the Palazzo Chiaromonte and pushed the little postern that stood ajar. The big porter was within, standing dejectedly before the door of his lodge, and already dressed in the deep mourning which is kept in readiness in all the great Roman houses. The painter asked in broken Italian if the bad news was true, and the man nodded gravely, pointing to the gates. They would not be shut unless the master were dead. Durand asked after Donna Angela, but the porter was not communicative. She had come in with her aunt and both were upstairs; he suspected the painter of being a foreign newspaper correspondent and would say nothing more.
The American thanked him and went away; after all, he had come to make sure that the Prince was really dead, and he was conscious that his wish to keep the portrait was the only motive of his inquiry.
He strolled away through the crowded streets, blowing such clouds of cigarette smoke about him that people looked at him in surprise. It was almost sunset, in February, and it was just before Lent. Rome is at her gayest then, though the old Carnival is as dead and gone as Pio Nono, Garibaldi, the French military occupation, the hatred of the Jesuits, and all that made the revival of Italy in the nineteenth century the most thrilling romance that ever roused Italian passion and stirred the world's sympathy. Durand was not old enough to remember those times, and he had never been in Rome at all till he was nearly thirty years of age and on the first wave of his high success; but he had read about the past, and to his unspoiled sight and vivid imagination Rome was still romantic and the greatest city in the world, ancient or modern; and somehow when he thought of his picture and of Angela's face, and remembered the scene at the telephone, he felt that he was himself just within the sphere of some mysterious and tragic action which he could not yet understand, but which might possibly affect his own life.
'This is a serio-comic world,' he said to himself as he slowly made his way down the Corso, watching the faces of the people he passed, because he never passed a face in the street without glancing at it, stopping now and then to look into a shop window where there was nothing to see that he had not seen a thousand times elsewhere, smoking cigarettes without number, thinking of Angela's portrait, and mechanically repeating his little epigram over and over again, to a sort of tune in his head, with variations and transpositions that meant nothing at all.
'This is a serio-comic world. This is a comico-serious world. This world is a serious comico-serial. This is a worldly-serious comedy.' And so forth, and so on; and a number of more or less good-looking women of the serio-comic world, whose portraits he had painted, and several more or less distinguished men who had sat to him, passed the man of genius and greeted him as if they were rather pleased to show that they knew him; but they would have been shocked if they could have heard the silly words the great painter was mechanically repeating to himself as he idled along the pavement, musing on the picture he hoped to keep, and already regarded as his masterpiece and chief treasure.
CHAPTER II
The excellent Madame Bernard had been Angela's governess before the child had been sent to the convent, on the Trinità dei Monti, and whenever she was at home for the holidays, and also during the brief interval between her leaving school and going into society; and after that, during the winter which preceded Prince Chiaromonte's death, she had accompanied the motherless girl to concerts and had walked with her almost daily in the mornings. She was one of those thoroughly trustworthy, sound-minded, well-educated Frenchwomen of the middle class of whom many are to be found in the provinces, though the type is rare in Paris; nearly fifty years of age, she had lived twenty years in Rome, always occupying the same little apartment in a respectable street of Trastevere, where she had a spare room which she was glad to let to any French or English lady of small means who came to Rome for a few months in the winter and spring.
Angela sent her maid for Madame Bernard on the day of the catastrophe, since her aunt neither offered to take her in at once nor seemed inclined to suggest any arrangement for the future. The Marchesa did, indeed, take charge of everything in the Palazzo Chiaromonte within an hour of her brother-in-law's death; she locked the drawers of his private desk herself, sent for the notary and had the customary seals placed on the doors of the inner apartments 'in the name of the heirs'; she spoke with the undertaker and made every arrangement for the customary lying in state of the body during the following night and day; saw to the erection of the temporary altar at which masses for the dead would be celebrated almost without interruption from midnight to noon by sixteen priests in succession; gave full instructions to the effect that the men-servants should take their turn of duty in regular watches, day and night, until the funeral; and finally left the palace, after showing herself to be an exceedingly practical woman.
When she went away, she was holding her handkerchief to her eyes with both hands and she forgot her parasol; but she remembered it as she was just going out by the postern, her carriage being outside because the gates were shut, and she sent her footman back for it and for the little morocco bag in which she carried her handkerchief and card-case. It was a small matter, but the porter, the footman, and the butler upstairs all remembered it afterwards, and the footman himself, while coming down, took the trouble to look into the little wallet, and saw that the card-case was there, but nothing else; for the Marchesa sometimes
