Part 21 (2/2)
”And it was our good strange Piero who painted it?” said Romola. ”Did you put it into his head to paint me as Antigone, that he might have my likeness for this?”
”No, it was he who made my getting leave for him to paint you and your father, a condition of his doing this for me.”
”Ah! I see now what it was you gave up your precious ring for. I perceived you had some cunning plan to give me pleasure.”
t.i.to did not blench. Romola's little illusions about himself had long ceased to cause him anything but satisfaction. He only smiled and said--
”I might have spared my ring; Piero will accept no money from me; he thinks himself paid by painting you. And now, while I am away, you will look every day at those pretty symbols of our life together--the s.h.i.+p on the calm sea, and the ivy that never withers, and those Loves that have left off wounding us and shower soft petals that are like our kisses; and the leopards and tigers, they are the troubles of your life that are all quelled now; and the strange sea-monsters, with their merry eyes-- let us see--they are the dull pa.s.sages in the heavy books, which have begun to be amusing since we have sat by each other.”
”t.i.to mio!” said Romola, in a half-laughing voice of love; ”but you will give me the key?” she added, holding out her hand for it.
”Not at all!” said t.i.to, with playful decision, opening his sca.r.s.ella and dropping in the little key. ”I shall drown it in the Arno.”
”But if I ever wanted to look at the crucifix again?”
”Ah! for that very reason it is hidden--hidden by these images of youth and joy.”
He pressed a light kiss on her brow, and she said no more, ready to submit, like all strong souls, when she felt no valid reason for resistance.
And then they joined the waiting company, which made a dignified little procession as it pa.s.sed along the Ponte Rubaconte towards Santa Croce.
Slowly it pa.s.sed, for Bardo, unaccustomed for years to leave his own house, walked with a more timid step than usual; and that slow pace suited well with the gouty dignity of Messer Bartolommeo Scala, who graced the occasion by his presence, along with his daughter Alessandra.
It was customary to have very long troops of kindred and friends at the _sposalizio_, or betrothal, and it had even been found necessary in time past to limit the number by law to no more than _four hundred_--two hundred on each side; for since the guests were all feasted after this initial ceremony, as well as after the _nozze_, or marriage, the very first stage of matrimony had become a ruinous expense, as that scholarly Benedict, Leonardo Bruno, complained in his own case. But Bardo, who in his poverty had kept himself proudly free from any appearance of claiming the advantages attached to a powerful family name, would have no invitations given on the strength of mere friends.h.i.+p; and the modest procession of twenty that followed the _sposi_ were, with three or four exceptions, friends of Bardo's and t.i.to's selected on personal grounds.
Bernardo del Nero walked as a vanguard before Bardo, who was led on the right by t.i.to, while Romola held her father's other hand. Bardo had himself been married at Santa Croce, and had insisted on Romola's being betrothed and married there, rather than in the little church of Santa Lucia close by their house, because he had a complete mental vision of the grand church where he hoped that a burial might be granted him among the Florentines who had deserved well. Happily the way was short and direct, and lay aloof from the loudest riot of the Carnival, if only they could return before any dances or shows began in the great piazza of Santa Croce. The west was red as they pa.s.sed the bridge, and shed a mellow light on the pretty procession, which had a touch of solemnity in the presence of the blind father. But when the ceremony was over, and t.i.to and Romola came out on to the broad steps of the church, with the golden links of destiny on their fingers, the evening had deepened into struggling starlight, and the servants had their torches lit.
While they came out, a strange dreary chant, as of a _Miserere_, met their ears, and they saw that at the extreme end of the piazza there seemed to be a stream of people impelled by something approaching from the Borgo de' Greci.
”It is one of their masqued processions, I suppose,” said t.i.to, who was now alone with Romola, while Bernardo took charge of Bardo.
And as he spoke there came slowly into view, at a height far above the heads of the onlookers, a huge and ghastly image of Winged Time with his scythe and hour-gla.s.s, surrounded by his winged children, the Hours. He was mounted on a high car completely covered with black, and the bullocks that drew the car were also covered with black, their horns alone standing out white above the gloom; so that in the sombre shadow of the houses it seemed to those at a distance as if Time and his children were apparitions floating through the air. And behind them came what looked like a troop of the sheeted dead gliding above blackness. And as they glided slowly, they chanted in a wailing strain.
A cold horror seized on Romola, for at the first moment it seemed as if her brother's vision, which could never be effaced from her mind, was being half fulfilled. She clung to t.i.to, who, divining what was in her thoughts, said--
”What dismal fooling sometimes pleases your Florentines! Doubtless this is an invention of Piero di Cosimo, who loves such grim merriment.”
”t.i.to, I wish it had not happened. It will deepen the images of that vision which I would fain be rid of.”
”Nay, Romola, you will look only at the images of our happiness now. I have locked all sadness away from you.”
”But it is still there--it is only hidden,” said Romola, in a low tone, hardly conscious that she spoke.
”See, they are all gone now!” said t.i.to. ”You will forget this ghastly mummery when we are in the light, and can see each other's eyes. My Ariadne must never look backward now--only forward to Easter, when she will triumph with her Care-dispeller.”
PART TWO.
CHAPTER TWENTY ONE.
<script>