Blackwood's Edinburgh Magazine — Volume 55, No. 342, April, 1844

Blackwood's Edinburgh Magazine — Volume 55, No. 342, April, 1844
Various

Various

Blackwood's Edinburgh Magazine — Volume 55, No. 342, April, 1844

THE PIRATES OF SEGNA.

A TALE OF VENICE AND THE ADRIATIC. IN TWO PARTS

PART II.

CHAPTER I.—THE BATTLE OF THE BRIDGE

The time occupied by the events detailed in the three preceding chapters, had been passed by Antonio in a state of self-exile from his master's studio. Conscious of having disobeyed the earnest injunctions of Contarini, the weakness of his character withheld him alike from confessing his fault, and from encountering the penetrating gaze of the old painter. Neglecting thus his usual occupation, he passed his days in his gondola, wandering about the canals in the hope of again meeting with the mysterious being who had made such an impression on his excitable fancy. Hitherto all his researches had been fruitless; but although day after day passed without his finding the smallest trace of her he sought, his repeated disappointments seemed only to increase the obstinacy with which he continued the search.

The incognita not only engrossed all his waking thoughts, but she still haunted him in his dreams. Scarcely a night passed that her wrinkled countenance did not hover round his pillow, now partially shrouded by the ample veil, then again fully exposed and apparently exulting in its unearthly ugliness; or else peering at him from behind the drapery that covered the walls of his apartment. In vain did he attempt to address the vision, or to follow it as it gradually receded and finally melted away into distance.

It was from a dream of this description that he was one morning awakened by his faithful gondolier Jacopo. The sun was shining brightly through his chamber windows, and he heard an unusual degree of noise and bustle upon the canal without.

"Up, Signor mio!" cried the gondolier joyously, and with a mixture of respect and affectionate familiarity in his tone and manner. "Up, Signor Antonio! You were not wont to oversleep yourself on the day of the Bridge Fight. All Venice is hastening thither. Quick, quick! or we shall never be able to make our way through the press of gondolas."

The words of the gondolier reminded Antonio that this was the day appointed for the celebration of a festival, which for weeks past had been looked forward to with the greatest impatience and interest, by Venetians of all ranks, ages, and sexes; a festival which he himself was in the habit of regularly attending, though on this occasion his preoccupied thoughts and feelings had made him utterly unconscious that it was so near at hand.

Although the ancient and bitter hatred of the Guelphs and Ghibellines had died away, and the factions which divided northern Italy had sunk into insignificance, nearly a century before this period, the memory of their feuds was still kept up by their great grandchildren, and Venice was still severed into two parties or communities, separated from each other by the grand canal. Those who dwelt on the western or land side of this boundary were styled the Nicolotti, after the parish of San Nicolo; while those on the eastern or sea side took the appellation of Castellani, from the district of Castello. Not only the inhabitants of the city itself, but those of the suburbs and neighbouring country, were included in these two denominations; the people from Mestre and the continent ranging themselves under the banners of the Nicolotti, while those from the islands were strenuous Castellani.

The frequent and sanguinary conflicts of the Guelphs and Ghibellines were now replaced and commemorated by a popular festival, occurring sometimes once, sometimes oftener in the year; usually in the autumn or spring. "In order that," says an old chronicler of the time, "the heat being less great at those seasons, the blood of the combatants should not become too heated and the fight too dangerous." "Also on cloudy days," says the same authority, "that the spectators might not be molested by the sun; and on Sundays or Saints' days, that the people thereby might not be hindered from their occupations." On these occasions one of the numerous bridges was selected as the scene of the mock combat that constituted the chief amusement of the day. The quays afforded good standing-room to the spectators; and here, under the inspection of ædiles appointed by the people, the two parties met, and disputed for supremacy in a battle, in which, however, no more dangerous weapons than fists were allowed to be brought into play.

It was not the populace alone that divided itself into these two factions. Accordingly as the palaces of the nobles stood on the one or the other side of the canal, were their owners Castellani or Nicolotti, although their partizanship existed but in jest, and only showed itself in the form of encouragement to their respective parties; whereas with the lower orders the strife, begun in good-humour, not unfrequently turned to bitter earnest, and had dangerous and even fatal results. In the wish, however, to keep up a warlike spirit in the people, and perhaps still more with a view to make them forget, in a temporary and boundless license, the strict subjection in which they were habitually held, the senate was induced to permit the continuance of a diversion, which from the local arrangements of Venice, the narrowness of the streets and bridges, and the depth of the larger canals, was unavoidably dangerous, and almost invariably attended with loss of life.

Hastily dressing himself, Antonio hurried into his gondola in order to proceed to the bridge of San Barnaba, opposite to the church of the same name and to the Foscarini palace, that being the spot appointed for the combat. The canal of the Giudecca was one black mass of gondolas, which rendered even a casual glimpse of the water scarcely obtainable; and it was amidst the cries of the gondoliers and the noise of boats knocking against each other, that the young painter passed the Dogana and reached the grand canal. There the crowd became so dense, that Jacopo, seeing the impossibility of passing, turned aside in time, and making a circuit, entered the Rio de San Trovaso, whence, through innumerable narrow canals, he succeeded in reaching the scene of the approaching conflict.

The combatants were attending mass, and had not yet made their appearance. Wonderfully great, however, was the concourse of spectators already assembled. Since sunrise they had been thronging thither from all sides, eager to secure places which might afford them a good view of the fight. Every roof, gable, and chimney had its occupants; not a projection however small, not a wall however lofty and perilous, but was covered with people, for the most part provided with baskets of provisions, and evidently determined to sit or stand out the whole of the spectacle. In the anxiety to obtain good places, the most extraordinary risks were run, and feats of activity displayed. Here might be seen individuals clambering up perpendicular buildings, by the aid of ledges and projections which appeared far too narrow to afford either grasp or foot-hold; further on, some herculean gondolier or peasant served as base to a sort of human column, composed of five or six men, who, scrambling over each other's shoulders, attained in this manner some seemingly inaccessible position. The seafaring habits of the Venetian populace, who were accustomed from boyhood to climb the masts and rigging of vessels, now stood them in good stead; and notwithstanding all the noise, confusion, and apparent peril, it was very rarely that an accident occurred.

Under the red awnings covering the balconies and flat roofs of the palaces, were seated groups of ladies, whose rich dresses, glittering with the costliest jewels and embroideries, appeared the more magnificent from being contrasted with the black attire of the grave patricians who accompanied them. But perhaps the most striking feature of this striking scene was to be found in the custom of masking, then almost universal in Venice, and the origin of which may be traced in great part to dread of the Inquisition, and of its prying enquiries into the actions and affairs of individuals. Amidst the sea of faces that thronged roofs, windows, balconies, streets, and quays, the minority only were uncovered, and the immense collection of masks, of every form and colour, had something in it peculiarly fantastic and unnatural, conveying an impression that the wearers mimicked human nature rather than belonged to it.

Venice, whose trade and mercantile importance were at this period greatly on the decline, saw nevertheless, on occasions like the present, strangers from the most opposite nations of Europe, and even Asia, mingling peaceably on her canals. Here were Turks in their bright red caftans and turbans; there Armenians in long black robes; and Jews, whose habitually greedy and crafty countenances had for the nonce assumed an expression of eager curiosity and expectation. The mercantile spirit of the Venetians prevented them from extending to individuals the quarrels of states; and although the republic was then at war with Spain, more than one superb hidalgo might be seen, wrapped in his national gravity as in a mantle, and affecting a total disregard of the blunt or hostile observations made within his hearing by sailors of the Venetian navy, or by individuals smarting under the loss of ships and cargoes captured by Spanish galleys.

Scattered here and there amongst the crowd, Antonio's searching eye soon remarked a number of men, to whom, accustomed as he was to analyse the heterogeneous composition of a Venetian mob, he was yet at a loss to assign any distinct class or country. Their sunburnt and strongly marked features were partially hidden by the folds of ample cloaks, in which they kept themselves closely muffled; and it appeared to Antonio, that in their selection of places they were more anxious to escape observation than to obtain a good view of the approaching fight. In the dark patches of shadow thrown by the overhanging balconies, in the recesses of deep and gloomy portals, or peering out from the entrance of some narrow and tortuous alley, these men were grouped, silent, scowling, and alone, and apparently known to none of the surrounding crowd. But suspicious as were the appearance and deportment of the persons in question, Antonio's thoughts were too much engrossed by another and far more interesting subject, to accord them much attention. He nourished the hope of discovering amongst the multitude assembled around him, the mysterious being who had taken so strong a hold on his imagination. Vainly, however, did he scan every balcony and window and strain his eyes to distinguish the faces of the more distant of the assembled dames. More than once the flutter of a white robe, or a momentarily fancied resemblance of figure, made his heart beat high with expectation, until a second glance destroyed his hopes; and the turning of a head or drawing aside of a veil disclosed the blooming features of some youthful beauty, to which, in his then state of mind, the wrinkled and unearthly visage of the incognita would have been infinitely preferable.

While the young painter was thus fluctuating between hope and disappointment, several lads with naked arms, or but slightly encumbered with clothing, were giving the spectators a foretaste of the approaching conflict; and, encouraged by the applause which was liberally vouchsafed them, making violent efforts to drive one another off the bridge. At times the spirit of partizanship would induce some of the bystanders to come to the aid of those who seemed likely to be defeated—an interference that was repressed by the ædiles stationed at either end of the bridge, who did their utmost to enforce the laws of this popular tournament. Notwithstanding their efforts, however, the mostra or duello between two persons, by which the combat should begin, was often converted into the frotta or mêlée, in which all pressed forward without order. The first advantage was held to be—for one of the combatants to draw blood, if it were only a single drop, from the nose or mouth of his opponent. Loud applause rewarded the skill and vigour of him who succeeded in throwing his adversary into the canal; but the clamour became deafening when a champion was found who maintained his station in the centre of the bridge, without any of the opposite party venturing to attack him. This feat won the highest honour that could be obtained; and he who achieved it retired from his post amid the waving of scarfs and handkerchiefs, and the enthusiastic cheers of the gratified spectators.

At length the bell of the Campanile announced that mass was over, and presently, out of two opposite streets that had been purposely kept clear, the combatants emerged, pressing forward in eager haste towards the bridge; their arms naked to the shoulders, their breasts protected by leathern doublets, and their heads by closely fitting caps—their dress altogether as light as possible, and well adapted to the struggle in which they were about to engage. The loud hum of the multitude was hushed on their appearance, and the deepest silence reigned while the ædiles marshaled them to their respective places, on which they planted themselves in threatening attitudes, their broad and muscular chests expanded, their fists clenched, their feet seeming to grasp the ground on which they stood.

A loud flourish of trumpets gave the signal of the onset, and with inconceivable impetuosity the two parties threw themselves on each other. In spite, however, of the fury and violence of the shock, neither side yielded an inch of ground. The bridge was completely filled with men from end to end, and from side to side; there was no parapet or barrier of any kind to prevent the combatants from pushing one another into the canal; yet so equally balanced was the strength of the two parties, that after nearly half an hour's struggle very few men had been thrown from the bridge, and not the smallest advantage had been obtained either by Castellani or Nicolotti. Those in the rear, who had as yet done nothing but push the others forward, now came to the front, and the combat was renewed with fresh vigour, but for a long time without any result. Again and again were the combatants changed; but it was past noon before Antonio, whose thoughts had been gradually diverted from the incognita by the struggle that was going on, perceived symptoms of weariness amongst those indefatigable athletes. Here and there a knee was seen to bend, or a muscular form to sink, under some well-directed blow, or before a sudden rush of the opposite party. First one, then another of the combatants was hurled from the bridge into the canal, an immersion that, dripping with perspiration as they were, not unfrequently caused death or severe illness. Nevertheless the fury of the fight seemed rather to increase than diminish. So long as only a man here and there fell into the water, they were dragged out by their friends; and the spectators even seemed to feel pity and sympathy for the unfortunates, as they saw them carried along, some covered with blood, others paralysed by the sudden cold, with faces pale as death and limbs stiff and rigid. But as the fury and violence of the combatants augmented, the bystanders forgot every other feeling in the excitement of the fight, about the result of which they seemed as anxious as those who were actively engaged in it. Even women might be seen encouraging those who were driven back, and urging them once more to the charge; applauding and cheering them on when they advanced, and assailing those who hung back with vehement reproaches. The uproar and shouting, shrieks and yells, exceeded any thing that could be imagined. The partizans had got completely mixed together; and, instead of the struggle being confined to the foremost ranks of the contending parties, the whole bridge was now one coil of raging combatants. Men fell into the canal by scores, but no one thought of rendering them any assistance. Their places were immediately filled up, and the fight lost none of its fury from their absence.

Evening was now approaching, and the combat was more violent than it had yet been, or than it had for years been known to be, when Antonio saw the cloaked and mysterious individuals who had already attracted his attention, emerge from their lurking-places, and disappear in different directions. Presently he thought he observed some of them on the bridge mingling with the combatants, whose blind rage prevented them from noticing the intrusion. Wherever they passed, there did the fight augment in obstinacy and fury. Suddenly there was a violent rush upon the bridge, a frightful outcry, and a clash of steel. At the same moment the blades of several swords and daggers were seen crossed and glittering upon the bridge, without its being possible for any one to divine whence the weapons came. The spectators, seized with a panic fear, fled in every direction, and sprang in crowds from the quays to seek shelter under the awnings of the gondolas covering the canal. In vain did the gondoliers resist the intrusion of the fugitives: all considerations of rank and property were lost sight of in the terror of the moment, and some of the boats sank under the weight of the multitudes that poured into them. In their haste to get away, the gondolas impeded each other, and became wedged together in the canal; and amidst the screams of the ladies and angry exclamations of the men, the gondoliers laid down their oars and began to dispute the precedence with blows. Meanwhile the people on the roofs of the houses, believing themselves in safety, espoused different sides, and threw stones and bricks at each other, and at those standing below. In an incredibly short time houses were entirely unroofed, and a perfect storm of tiles rained upon the quays and streets. Those who had first fled, when they attained what appeared a safe distance, halted to look on, and thus prevented others from getting away. Antonio was amongst the number whose escape was thus impeded. His gondolier lay at the bottom of the boat, stunned by a blow from a stone; he himself was bruised and wounded by the missiles that fell in all directions.

The tumult was at its height when suddenly a sound was heard that had a truly magical effect upon the rioters, for such they might now be termed. The alarm-bell of St Mark's rang out its awful peal. In an instant the yells of defiance were hushed; the arm that was already drawn back to deal a blow fell harmless by its owner's side, the storm of missiles ceased, the contending factions parted, and left the combat undecided. The habit of obedience and the intimation of some danger to the city, stilled in an instant the rage of party feeling, and combatants and spectators alike hurried away in the direction of St Mark's place, the usual point of rendezvous on such occasions.

Jacopo had now recovered his senses, and Antonio's gondola was one of the first which reached the square in front of the cathedral. Thence the young painter at once discovered the cause of the alarm. Smoke and flame were issuing from some buildings on the opposite island of San Giorgio Maggiore, where the greater part of the merchants' warehouses were situated. Thither the crowd of gondolas now steered, and Antonio found himself carried along with the stream. But although the fire was already beginning to subside before the prompt measures taken to subdue it, the alarm-bell kept clanging on; and Antonio soon perceived that there must be some other point of danger to which it was intended to turn the attention of the people. Gazing about for some indication of its source, he saw several gondolas hurrying towards the grand canal, on which most of the palaces of the nobles were situated, and he ordered Jacopo to steer in the same direction.

On reaching the palazzo of the Malipieri family, a strange scene presented itself to him. The open space between the side of the palace and the adjacent church of San Samuele, was crowded with men engaged in a furious and sanguinary conflict. At one of the windows of the palace, a tall man in a flowing white robe, with a naked sabre in one hand and a musquetoon in the other, which, from the smoke still issuing from its muzzle, had apparently just been discharged, stood defending himself desperately against a band of fierce and bearded ruffians, who swarmed up a rope ladder fixed below the window. The person making so gallant a defence was the Senator Malipiero; the assailants were Uzcoques from the fortress of Segna.

The arrival of the Proveditore Marcello at Gradiska, and his subsequent recognition of his jewels at the ball, having destroyed Strasolda's hopes of obtaining her father's liberation through the intervention of the archducal counsellors, the high-spirited maiden resolved to execute a plan she had herself devised, and which, although in the highest degree rash and hazardous, might still succeed if favoured by circumstances and conducted with skill and decision. This was to seize upon the person of a Venetian of note, in order to exchange him for the Uzcoques then languishing in the dungeons of the republic.

The Venetians were not yet aware that the much-dreaded woivode Dansowich was among their prisoners. The time chosen by the Uzcoques for their expeditions and surprises was usually the night; and this, added to the custom of mask-wearing, was the cause that the features of Dansowich were unknown to his captors. Nevertheless the striking countenance and lofty bearing of the chieftain, and of one or two of those who were taken prisoners with him, raised suspicions that they were persons of mark—suspicions which were not dissipated by their reiterated denial of being any thing more than common Uzcoques. It was this doubt which saved their lives; for their captors, instead of hanging them at once at the yard-arm of the galleys, which was the usual manner of disposing of Segnarese prisoners, took them to Venice, and placed them at the disposal of the senate. All subsequent threats and promises proved ineffectual to extort from the pirates an acknowledgment of superior rank; and the Venetian authorities would perhaps have ended in believing the account they gave of themselves, had not the urgent applications made by the Austrian Envoy and the Capitano of Fiume, for the release of the Uzcoques, given their suspicions new strength. The object of the Venetians was, if they could ascertain that there was a chief among the prisoners, to obtain from him, by torture or otherwise, confessions which might enable them to prove to the Archduke the encouragement afforded by his counsellors to the piracies of the Segnarese. They accordingly delayed, by every possible pretext, giving an answer to the archducal ambassador, doing their utmost meanwhile to find out the real quality of the prisoners. This, Strasolda was most anxious that they should not discover; and her anxiety was scarcely less to prevent the captivity of their leader from becoming known among the pirates themselves. His daughter's entreaties, and his own better nature, had frequently caused Dansowich to check his followers in the atrocities they were too apt to commit. In consequence of this interference, Strasolda suspected her father to be more feared than liked by Jurissa Caiduch and some others of the inferior woivodes or officers; and she apprehended that, if she confided her plan to them, they would be more likely to thwart than to aid her in it. The crews of the two boats which had been engaged in the skirmish with the Venetian galleys when Dansowich was captured, and the men composing the garrison of the castle on the evening of that fatal occurrence, were therefore all whose assistance she could reckon upon. Some of those were her relatives, and the others tried and trusty adherents. They alone knew of their leader's captivity, his absence having been accounted for to the mass of Uzcoques dwelling in the town of Segna, by a pretended journey to Gradiska; and being too few in number to attack a Venetian galley, the sole plan that seemed to offer a chance of success to this handful of faithful followers, was the hazardous one devised by Strasolda. Of this, they did not hesitate to attempt the execution.

With the utmost cunning and audacity did the Uzcoques enter Venice on the day appointed for the Battle of the Bridge, singly, and by twos and threes, variously disguised, and mingled with the country people and inhabitants of the islands who were hastening to the festival. Watching their opportunity when the fight was at the fiercest, one party mixed with the combatants, exciting and urging them on, and doing all in their power to increase the confusion; others set fire to the warehouses on the island of San Giorgio, in order to draw the public attention in that direction; while the third and most numerous division, favoured by the deepening twilight and the deserted state of that part of the city, succeeded in fixing a rope ladder to the window of the Malipieri palace, the chief of which noble house was, as they had previously ascertained, lying sick in bed in a side-chamber, attended only by a few domestics.

But there were two things which Strasolda and the Uzcoques had forgotten to include in their calculations. These were, first, the slavish obedience of the Venetian populace to the call of their superiors—an obedience to which they were accustomed to sacrifice every feeling and passion; secondly, the Argus eyes and omnipresent vigilance of the Secret Tribunal. Scarcely was the ladder applied, when the first gush of flame from the warehouses brought a deafening peal from the alarm-bell; and at the same moment, the masked and armed familiars of the Venetian police, rising as it seemed out of the very earth, surrounded the ladder, and a fierce conflict began. Even the watchfulness and precautions of the Inquisition, however, were to a certain extent overmatched by Uzcoque cunning and foresight. Had it not been necessary to ring the alarm bell on account of the fire, the police, who were far the most numerous, and who each moment received an accession to their numbers, could scarcely have failed to capture some of their opponents, and thus have ascertained to a certainty what the promoters and the object of this audacious attempt really were. But before they could accomplish this, the small piazza where the conflict was going on was thronged with the populace, half intoxicated with the excitement of the scarcely less serious fight they had been witnessing and sharing in. In the crush and confusion that ensued, familiars and Uzcoques were separated; and the latter, mingling with the crowd, and no longer distinguishable from the cloaked and masked figures that surrounded them, easily succeeded in effecting their escape.

When Antonio, who was pushed hither and thither by the mob, was able to extricate himself sufficiently to get another view of the window, the invalid nobleman, delivered from his assailants, had retired into his apartment, while the ladder, now deserted by the Uzcoques, had been cut and thrown down. Desirous of escaping from this scene of confusion, the young painter was making his way towards the quay, close to which his gondola was waiting, when his heart suddenly leaped within him at the sight of a muffled figure that passed near him, and in which he thought he recognized the mysterious old woman who had of late occupied so much of his thoughts. She was followed by a number of the rabble, who pressed upon her with oaths and curses, asserting that she was one of the party which had attacked the palace of the Malipieri.

"I saw her holding the ladder," exclaimed one fellow.

"Nay, she was climbing up it herself," cried a second.

"Strike the foul witch dead!" shouted a score of voices.

The old woman's life was in the greatest peril, when a strange and unaccountable, but at the same time irresistible impulse, moved Antonio to go to her rescue. He was forcing his way through the crowd with this intention, when the object of the popular fury turned her head towards him. Her veil was for a moment partially drawn aside, affording a glimpse of her features in profile; and Antonio, still the slave of his diseased imagination, fancied that her yellow shriveled features had been metamorphosed into a countenance of regular beauty; such a countenance, in short, as befitted the graceful and symmetrical form to which it belonged. Confused and bewildered, the naturally weak and undecided youth stood deliberating and uncertain whether he should attempt the rescue, which would have been by no means difficult to accomplish by the display of a little boldness and promptitude. Whilst he was thus hesitating, there suddenly broke through the crowd a young man, attired like himself in a black dress, and holding a naked rapier in his hand. The new comer had probably lost his mask in the tumult and confusion, for his features were uncovered, and Antonio saw, to his inexpressible consternation and astonishment, that they were the exact counterpart of his own. Before he could recover from this new shock, the stranger, by the aid of his fierce and determined demeanour, and the rapid play of his weapon, had made his way to the mysterious old woman, whose back was turned towards him, and seizing her round the waist he again forced a passage through the throng to the nearest gondola, which happened to be that of the young painter. The crowd pressed after him, and Antonio was hurried along with it to the edge of the quay. But at the very moment that, to avoid being pushed into the water by the throng, he sprang into one end of his gondola, he saw the stranger, who had just entered it at the other, gaze with a look of disgust and dismay on the features of her he had rescued, and then with a cry of horror, leap into another boat, which immediately rowed rapidly away. At the same instant Jacopo, by a strong sweep of the oar, spun the gondola round, and shot into a narrow canal which soon led them out of sight and sound of the scene of confusion they had just left.

These various events had succeeded each other so rapidly, that Antonio could hardly credit his senses when he found himself in this strange manner the deliverer of the mysterious being who now sat under the awning of his gondola, her frightful countenance, unveiled in the struggle and no longer seen through the beautifying prism of the young artist's imagination, again displaying the yellow and wrinkled skin, and the deep-set glittering eyes, which now seemed fixed upon him with an expression of love and gratitude that froze his blood. With a shuddering sensation he retreated to the stern of the boat, where Jacopo stood pale and trembling, crossing himself without a moment's intermission.

"Are you mad, Signore," whispered the gondolier, "to risk your life in behalf of such a frightful witch? Never did I see you so ready with your rapier, flashing it in people's eyes as though it had been one of your painting brushes."

"By Heaven, Jacopo," answered Antonio, "that was not I"—

"The saints protect us!" interrupted the gondolier. "You are assuredly bewitched, or have lost your senses, Signore. To think of your thus denying your own noble daring! Do, for the blessed virgin's sake, let us jump out upon the next landing-place, and leave the gondola to the sorceress who has bewitched you. Holy mother! she is coming this way!"

A prey to the strangest and most contradictory emotions, Antonio hastily advanced to meet the mysterious being, whom he could not help regarding with superstitious awe, though he at the same time felt himself drawn towards her by a fascination, against which he found it was in vain to contend. The features of the unknown were again shrouded carefully in her veil, but her black and brilliant eyes glittered through it like nebulous stars.

"To the house of the Capitano of Fiume," whispered she to Antonio, and then retreated, as if anxious to avoid further conversation, into the interior of the gondola.

In the district of Castello, through which Antonio and his strange companion were now passing, the canals and quays were deserted, and not a sound was heard except the distant hum of the multitude assembled in the quarter of St Mark's. Without exciting suspicion or attracting observation, they reached the Rialto and the grand canal, and the gondola stopped at a landing-place opposite the church of San Moyses.

As the young painter assisted his mysterious charge out of the boat, a gentle pressure from the warm soft hand which for a moment rested upon his, quickened every pulse in his frame; and long after the enigmatical being had disappeared behind the angle of a palace, he stood gazing, like one entranced, at the spot where he had last seen her imposing and graceful figure. The approach of Jacopo, still crossing himself, and calling upon all the saints for protection against the snares of the evil one, roused the perplexed youth from his reverie; and, stepping into the gondola, he was soon gliding rapidly over the canals in the direction of his father's palace.

CHAPTER II.

THE PICTURE

The gondola of the young painter, gliding rapidly and silently over the still waters of the canals, was passing a turn leading to the Giudecca, when it suddenly occurred to Antonio that he would seek his old master, and, after confessing his disobedience, relate to him the events of the day, and make him the confidant of his troubles and perplexities. A word to Jacopo changed the direction of the gondola, and they entered the grand canal, on which Contarini's dwelling was situated.

The brief twilight of Italy had passed, and it was now completely night, dark and starless, which made more startling the sudden appearance of several blazing torches, borne by masked and hooded figures attired in black, who struck loud and repeated blows on the gates of the Palazzo Contarini.

"Antonio Marcello! We seek Antonio Marcello!" exclaimed a deep and hollow voice.

It would be necessary to be a Venetian, and to have lived in those days, fully to comprehend the feeling of horror which caused Antonio's blood to run cold, and the sweat to stand in beads upon his forehead, when he heard his name uttered by the familiars of the state Inquisition. Frightful dungeons, masked judges, halls hung with black, the block and the gleaming axe, the rack and its blood-stained attendants, the whole grim paraphernalia of the Secret Tribunal, passed like the scenes of a phantasmagoria before the mental vision of the young painter. He at once conjectured the cause for which they were seeking him. He had doubtless been taken for the youth who, by his energy and promptitude, had rescued the mysterious old woman from the mob, and who bore so striking and unaccountable resemblance to himself; and it must be on suspicion of his being connected with the attack on the Malipieri palace, that the ministers of justice were hunting him out. Nor did he see how he should he able to convince his judges of his innocence. The tale he had to tell, although the truth, was still too marvellous and improbable to obtain credence, and would be more likely to draw upon him severe punishment, or perhaps the torture, with the view of inducing him to confess its falsehood. Bewildered by his terror, Antonio sat trembling, and utterly incapable of deciding as to the course he should adopt, when the trusty gondolier again came to his rescue.