can delude even you! What crime-what of!fence? I did not think you had been thus hardened in guilt! replied the priest-Forbear!-add not the audacity of falsehood to the headlong passions of youth. You understand too well your crime. Falsehood! retorted Vivaldi-But your years, old man, and those sacred vestments, protect you. For these ruffians, who have dared to implicate that innocent victim-pointing to Ellena -in the charge, they shall have justice from my vengeance! Forbear! forbear! said the priest, seizing his arm, have pity on yourself and on her. Know you not the punishment you incur from resistance? I know nor care not, replied Vivaldi ; but I will defend Ellena di Rosalba to the last moment.-Let them approach, if they dare! It is on her on her who lies senseless at your feet, said the priest, that they will wreak their vengeance for these insults-on her, the partner of your guilt. The partner of my guilt! exclaimed Vivaldi, with mingled astonishment and indignation—of my guilt! Rash young man! does not the very veil she wears betray it? I marvel how it could pass my observation! You have stolen a nun from her convent, said the chief officer, and must answer for the crime. When you have wearied yourself with these heroics, signor, you must go with us; our patience is wearied already. Vivaldi observed, for the first time, that Ellena was shrouded in a nun's veil; it was the one which Olivia had lent, to conceal her from the notice of the Abbess, on the night of her departure from San Stefano, and which, in the hurry of that departure, she had forgotten to leave with the nun. During this interval, her mind had been too entirely occupied by cares and apprehensions to allow her once to notice that the veil she wore was other than her usual one; but it had been too well observed by some of the Ursuline sisters. secrets in his possession, which enabled him safely to defy her resentment, and bind her in silence to his decree. With the conviction that Schedoni's was the master-hand that directed the present manœuvre, Vivaldi stood aghast, and gazing in silent unutterable anguish on Ellena, who, as she began to revive, stretched forth her helpless hands, and called upon him to save her. Do not leave me, said she, in accents the most supplicating-I am safe while you are with me. At the sound of her voice, he started from his trance, and turning fiercely upon the ruffians, who stood in sullen watchfulness around, bade them depart, or prepare for his fury. At the same instant, they all drew their swords, and the shrieks of Ellena, and the supplications of the officiating priest, were lost amidst the tumult of the combatants. Vivaldi, most unwilling to shed blood, stood merely on the defensive, till the violence of his antagonists compelled him to exert all his skill and strength. He then disabled one of the ruffians; but his skill was insufficient to repel the other two, and he was nearly overcome, when steps were heard approaching, and Paulo rushed into the chapel. Perceiving his master beset, he drew his sword, and came furiously to his aid. He fought with unconquerable audacity and fierceness, till, nearly at the moment when his adversary fell, other ruffians entered the chapel, and Vivaldi, with his faithful servant, was wounded, and at length disarmed. Ellena, who had been withheld from throwing herself between the combatants, now, on observing that Vivaldi was wounded, renewed her efforts for liberty, accompanied by such agony of supplication and complaint, as almost moved to pity the hearts of the surrounding ruffians. Disabled by his wounds, and also held by his enemies, Vivaldi was compelled to witness her distress and danger, without a hope of rescuing her. In frantic accents, he called upon the old priest to protect her. I dare not oppose the orders of the Inquisition, replied the Benedictine, even if I had sufficient strength to defy its officials. Know you not, unhappy young man, that it is death to resist them? Death! exclaimed Ellena-death! Signor, it would have been well for you, said one of the officers, if you had taken my advice; you will pay dearly for what you have done, pointing to the ruffian, who lay severely wounded on the ground. Though he knew not how to account for the circumstance of the veil, Vivaldi began to perceive others, which gave colour to the charge brought against him, and to ascertain the wide circumference of the snare that was spread around him. He fancied, too, that he perceived the hand of Schedoni employed upon it, and that his dark spirit was now avenging itself for the exposure he had suffered in the church of the Spirito Santo, and for all the consequent mortifications. My master will not have that to pay for, friend, As Vivaldi was ignorant of the ambitious hopes said Paulo, for, if you must know, that is a piece which the Marchesa had encouraged in father of my work; and, if my arms were now at liSchedoni, he did not see the improbability, that,berty, I would try if I could not match it among the confessor would have dared to hazard her one of you, though I am so slashed. favour by this arrest of her son; much less could he suspect that Schedoni, having done so, had Feace, good Paulo! the deed was mine, said Vivaldi ; then addressing the official, For myself I care not-I have done my duty; but for her! -Can you look upon her, innocent and helpless as she is, and not relent !-Can you-will you, barbarians! drag her also to destruction, upon a charge, too, so daringly false? Our relenting would be of no service to her, replied the official, we must do our duty. Whether the charge be true or false, she must answer to it before her judges. What charge? demanded Ellena. The charge of having broken your nun's vows, replied the priest. Ellena raised her eyes to heaven: Is it even so! she exclaimed. You hear she acknowledges the crime, said one of the ruffians. She acknowledges no crime, replied Vivaldi ; she only perceives the extent of the malice, that persecutes her.-O Ellena, must I then abandon you to their power!-leave you for ever! The agony of this thought reanimated him with momentary strength; he burst from the grasp of the officials, and once more clasped Ellena to his bosom, who, unable to speak, wept with the anguish of a breaking heart, as her head sunk upon his shoulder. The ruffians around them so far respected their grief, that, for a moment, they did not interrupt it. Vivaldi's exertion was transient; faint from sorrow, and from loss of blood, he became unable to support himself, and was compelled again to relinquish Ellena. Is there no help? said she, with agony; will you suffer him to expire on the ground? The priest directed, that he should be conveyed to the Benedictine convent, where his wounds might be examined, and medical aid administered. The disabled ruffians were already carried thither; but Vivaldi refused to go, unless Ellena might accompany him. It was contrary to the rules of the place, that a woman should enter it, and before the priest could reply, his Benedictine brother eagerly said, that they dared not transgress the law of the con vent. Ellena's fears for Vivaldi entirely overcame those for herself, and she entreated that he would suffer himself to be conveyed to the Benedictines; but he could not be prevailed with to leave her. The officials, however, prepared to separate them; Vivaldi in vain urged the useless cruelty of dividing him from Ellena, if, as they had hinted, she also was to be carried to the Inquisition; and as ineffectually demanded, whither they really designed to take her. We shall take good care of her, signor, said an officer, that is sufficient for you. It signifies nothing whether you are going the same way, you must not go together. Why, did you ever hear, signor, of arrested persons being suffered to remain in company? said another ruffian, Fine plots they would lay I warrant they would not contradict each other' evidence a tittle. You shall not separate me from my master. though, vociferated Paulo; I demand to be se: to the Inquisition with him, or to the devil-b all is one for that. Fair and softly, replied the officer; you shal be sent to the Inquisition first, and to the devi afterwards; you must be tried before you an condemned. But waste no more time, he added to his fillowers, and pointing to Ellena, Away with her As he said this, they lifted Ellena in their arms. Let me loose! cried Paulo, when he saw they were carrying her from the place, Let m loose, I say! and the violence of his struggle burst asunder the cords, which held him ; a vain release, for he was instantly seized again. Vivaldi, already exhausted by the loss of blood, and the anguish of his mind, made, however, a last effort to save her; he tried to raise himself from the ground, but a sudden film came over his sight, and his senses forsook him, while yet the name of Ellena faltered on his lips. As they bore her from the chapel, she continued to call upon Vivaldi, and alternately.to supplicate, that she might once more behold him, and take one last adieu. The ruffians were inexorable, and she heard his voice no more, for he no longer heard-no longer was able to reply to hers. O! once again! she cried in agony, One word, Vivaldi! Let me hear the sound of your voice yet once again!-But it was silent. As she quitted the chapel, with eyes still bent towards the spot where he lay, she exclaimed, in the piercing accents of despair, Farewell, Vivaldi! O! for ever-ever, farewell! The tone in which she pronounced the last farewell, was so touching, that even the cold heart of the priest could not resist it; but be impatiently wiped away the few tears that rushed into his eyes, before they were observed. Vivaldi heard it-it seemed to arouse him from death!-he heard her mournful voice for the last time, and turning his eyes, saw her veil floating away through the portal of the chapel. All suffering, all effort, all resistance were vain; the ruffians bound him, bleeding as he was, and conveyed him to the Benedictine convent, together with the wounded Paulo, who unceasingly vociferated on the way thither, I demand to be sent to the Inquisition! I demand to be sent to the Inquisition! CHAP. XVII. In earliest Greece to thee with partial choice, COLLINS'S ODE to Fear. THE wounds of Vivaldi and of his servant were pronounced by the Benedictine, who had examined and dressed them, to be not dangerous, but those of one of the ruffians were declared doubtful. Some few of the brothers displayed much compassion and kindness towards the prisoners; but the greater part seemed fearful of expressing any degree of sympathy for persons who had fallen within the cognizance of the Holy Office, and even kept aloof from the chamber in which they were confined. To this self-restriction, however, they were not long subjected; for Vivaldi and Paulo were compelled to begin their journey as soon as some short rest had sufficiently revived them. They were placed in the same carriage, but the presence of two officers prevented all interchange of conjecture, as to the destination of Ellena and the immediate occasion of their misfortune. Paulo, indeed, now and then hazarded a surmise, and did not scruple to affirm, that the Abbess of San Stefano was their chief enemy; that the Carmelite friars, who had overtaken them on the road, were her agents; and that, having traced their route, they had given intelligence where Vivaldi and Ellena might be found. I guessed we never should escape the Abbess, said Paulo, though I would not disturb you, signor mio, nor the poor Lady Ellena, by saying so. But your abbesses are as cunning as inquisitors, and are so fond of governing, that they had rather, like them, send a man to the devil, than send him nowhere. Vivaldi gave Paulo a significant look, which was meant to repress his imprudent loquacity, and then sunk again into silence and the abstraction of deep grief. The officers, meanwhile, never spoke, but were observant of all that Paulo said, who perceived their watchfulness, but, because he despised them as spies, he thoughtlessly despised them also as enemies, and was so far from concealing opinions, which they might repeat to his prejudice, that he had a pride in exaggerating them, and in daring the worst, which the exasperated tempers of these men, shut up in the same carriage with him, and compelled to hear whatever he chose to say against the institution to which they belonged, could effect. Whenever Vivaldi, recalled from his abstractions by some bold assertion, endeavoured to check his imprudence, Paulo was contented to solace his conscience, instead of protecting himself, by saying, It is their own fault; they would thrust themselves into my company; let them have enough of it; and, if ever they take me before their reverences, the Inquisitors, they shall have enough of it too. I will play up such a tune in the Inquisition as is not heard there every day. I will jingle all the bells on their fool's caps, and tell them a little honest truth, if they make me smart for it ever so. Vivaldi, aroused once more, and seriously alarmed for the consequences which honest Paulo might be drawing upon himself, now insisted on his silence, and was obeyed. They travelled during the whole night, stopping only to change horses. At every posthouse, Vivaldi looked for a carriage that might enclose Ellena, but none appeared, nor any sound of wheels told him that she followed. With the morning light he perceived the dome of St Peter, appearing faintly over the plains that surrounded Rome, and he understood, for the first time, that he was going to the prisons of the Inquisition in that city. The travellers descended upon the Campania, and then rested for a few hours at a small town on its borders. When they again set forward, Vivaldi perceived that the guard was changed, the officer who had remained with him in the apartment of the inn only appearing among the new faces which surrounded him. The dress and manners of these men differed considerably from those of the other. Their conduct was more temperate, but their countenances expressed a darker cruelty, mingled with a demureness and a solemn self-importance, that announced them at once as belonging to the Inquisition. They were almost invariably silent; and when they did speak, it was only in a few sententious words. To the abounding questions of Paulo, and the few earnest entreaties of his master, to be informed of the place of Ellena's destination, they made not the least reply; and listened to all the flourishing speeches of the servant against Inquisitors and the Holy Office with the most profound gravity. Vivaldi was struck with the circumstance of the guard being changed, and still more with the appearance of the party who now composed it. When he compared the manners of the late with those of the present guard, he thought he discovered in the first the mere ferocity of ruffians; but in the latter, the principles of cunning and cruelty, which seemed particularly to characterize Inquisitors; he was inclined to believe, that a stratagem had enthralled him, and that now, for the first time, he was in the custody of the Holy Office. It was near midnight when the prisoners entered the Porto del Popolo, and found themselves in the midst of the carnival at Rome. The Corso, through which they were obliged to pass, was crowded with gay carriages and masks, with processions of musicians, monks, and mountebanks, was lighted up with innumerable flambeaux, and resounded with the heterogeneous rattling of wheels, the music of serenaders, and the jokes and laughter of the revellers, as they sportively threw about their sugar plums. The heat of the weather made it necessary to have the windows of the coach open; and the prisoners, therefore, saw all that passed without. It was a scene, which contrasted cruelly with the feelings and circumstances of Vivaldi; torn as he was from her he most loved, in dreadful uncertainty as to her fate, and himself about to be brought before a tribunal, whose mysterious and terrible proceedings appalled even the bravest spirits. Altogether, this was one of the most striking examples, which the chequer-work of human life could shew, or human feelings endure. Vivaldi sickened as he looked upon the splendid crowd, while the carriage made its way slowly with it; but Paulo, as he gazed, was reminded of the Corso of Naples, such as it appeared at the time of carnival, and, comparing the present scene with his native one, he found fault with everything he beheld. The dresses were tasteless, the equipages without splendour, the people without spirit; yet, such was the propensity of his heart to sympathize with what ever was gay, that, for some moments, he forgot that he was a prisoner on his way to the Inquisition; almost forgot that he was a Neapolitan ; and, while he exclaimed against the dulness of a Roman carnival, would have sprung through the carriage window to partake of its spirit, if his fetters and his wounds had not withheld him. A deep sigh from Vivaldi recalled his wandering imagination; and, when he noticed again the sorrow in his master's look, all his lightly joyous spirits fled. My maestro, my dear maestro! he said, and knew not how to finish what he wished to express. At that moment they passed the theatre of San Carlo, the doors of which were thronged with equipages, where Roman ladies, in their gala habits, courtiers in their fantastic dresses, and masks of all descriptions, were hastening to the opera. In the midst of this gay bustle, where the carriage was unable to proceed, the officials of the Inquisition looked on in solemn silence, not a muscle of their features relaxing in sympathy, or yielding a single wrinkle of the self-importance that lifted their brows; and while they regarded with secret contempt those who could be thus lightly pleased, the people, in return, more wisely, perhaps, regarded with contempt the proud moroseness, that refused to partake of innocent pleasures, because they were trifling, and shrunk from countenances furrowed with the sternness of cruelty. But, when their office was distinguished, part of the crowd pressed back from the carriage in affright, while another part advanced with curiosity; though, as the majority retreated, space was left for the carriage to move on. After quitting the Corso, it proceeded for some miles through dark and deserted streets, where only here and there a lamp, hung on high before the image of a saint, shed its glimmering light, and where a melancholy and universal silence prevailed. At intervals, indeed, the moon, as the clouds passed away, shewed for a moment some of those mighty monuments of Rome's eternal name, those sacred ruins, those gigantic skeletons, which once enclosed a soul, whose energies governed a world! Even Vivaldi could not behold with indifference the grandeur of these reliques, as the rays fell upon the hoary walls and columns, or pass among these scenes of ancient story, without feeling a melancholy awe, a sacred enthusiasm, that withdrew him from himself. But the illusion was transient; his own misfortunes pressed too heavily upon him to be long unfelt, and his enthusiasm vanished like the moonlight. A returning gleam lighted up, soon after, the rude and extensive area, which the carriage was crossing. It appeared, from its desolation and from the ruins scattered distantly along its skirts, to be a part of the city entirely abandoned by the modern inhabitants to the reliques of its former grandeur. Not even the shadow of a human being crossed the waste, nor any building appeared, which might be supposed to shelter one. The deep tone of a bell, however, rolling on the silence of the night, announced the haunts of man to be not far off; and Vivaldi perceived in the distance, to which he was approaching, an extent of lofty walls and towers, that, as far as the gloom would permit his eye to penetrate, bounded the horizon. He judged these to be the prisons of the Inquisition. Paulo pointed them out at the same moment.-Ah, signor! said he despondingly, that is the place! what strength! If my old lord, the Marchese, were but to see where we are going! Ah! He concluded with a deep sigh, and sunk again into the state of apprehension and mute expectation, which he had suffered from the moment that he quitted the Corso. The carriage, having reached the walls, followed their bendings to a considerable extent. These walls, of immense height, and strengthened by innumerable massy bulwarks, exhibited neither window, nor grate, but a vast and dreary blank; a small round tower only, perched here and there upon the summit breaking their monotony. The prisoners passed what seemed to be the principal entrance, from the grandeur of its portal, and the gigantic loftiness of the towers that rose over it; and soon after the carriage stopped at an arch-way in the walls, strongly barricadoed. One of the escort alighted, and, having struck upon the bars, a folding door within was immediately opened, and a man bearing a torch appeared behind the barricado, whose countenance, as he looked through it, might have been copied for the Grim-visaged, comfortless Despair, of the poet. No words were exchanged between him and the guard; but, on perceiving who were without, he opened the iron gate, and the prisoners, having alighted, passed with the two officials beneath the arch, the guard following with a torch. They descended a flight of broad steps, at the foot of which another iron gate admitted them to a kind of hall; such, however, it at first appeared to Vivaldi, as his eyes glanced through its gloomy extent, imperfectly ascertaining it by the lamp, which hung from the centre of the roof. No person appeared, and a death-like silence prevailed; for neither the of ficials nor the guard yet spoke; nor did any distant sound contradict the notion, that they were traversing the chambers of the dead. To Vivaldi it occurred, that this was one of the burial vaults of the victims, who suffered in the Inquisition, and his whole frame thrilled with horror. Several avenues, opening from the apartment, seemed to lead to distant quarters of this immense fabric, but still no footstep whispering along the pavement, or voice murmuring through the arched roofs, indicated it to be the residence of the living. Having entered one of the passages, Vivaldi perceived a person clothed in black, and who bore a lighted taper, crossing silently in the remote perspective; and he understood too well from his habit, that he was a member of this dreadful tribunal. The sound of footsteps seemed to reach the stranger, for he turned, and then paused, while the officers advanced. They then made signs to each other, and exchanged a few words, which neither Vivaldi, nor his servant, could understand, when the stranger, pointing with his taper along another avenue, passed away. Vivaldi followed him with his eyes, till a door at the extremity of the passage opened, and he saw the Inquisitor enter an apartment, whence a great light proceeded, and where several other figures, habited like himself, appeared waiting to receive him. The door immediately closed; and, whether the imagination of Vivaldi was affected, or that the sounds were real, he thought, as it closed, he distinguished half-stifled groans, as of a person in agony. The avenue, through which the prisoners passed, opened, at length, into an apartment gloomy like the first they had entered, but more extensive. The roof was supported by arches, and long arcades branched off from every side of the chamber, as from a central point, and were lost in the gloom, which the rays of the small lamps, suspended in each, but feebly penetrated. They rested here, and a person soon after advanced, who appeared to be the jailor, into whose hands Vivaldi and Paulo were delivered. A few mysterious words having been exchanged, one of the officials crossed the hall, and ascended a wide stair-case, while the other, with the jailor and the guard, remained below, as if awaiting his return. A long interval elapsed, during which the stillness of the place was sometimes interrupted by a closing door, and, at others, by indistinct sounds, which yet appeared to Vivaldi like lamentations and extorted groans. Inquisitors, in their long black robes, issued, from time to time, from the passages, and crossed the hall to other avenues. They eyed the prisoners with curiosity, but without pity. Their visages, with few exceptions, seemed stamped with the characters of demons. Vivaldi could not look upon the grave cruelty, or the ferocious impatience, their countenances severally expressed, without reading in them the fate of some fellow-creature, the fate, which these men seemed going, even at this moment, to confirm; and, as they passed with soundless steps, he shrunk from observation, as if their very looks possessed some supernatural power, and could have struck death. But he followed their fleeting figures, as they proceeded on their work of horror, to where the last glimmering ray faded into darkness, expecting to see other doors of other chambers open to receive them. While meditating upon these horrors, Vivaldi lost every selfish consideration in astonishment and indignation of the sufferings, which the frenzied wickedness of man prepares for man, who, even at the moment of infliction, insults his victim with assertions of the justice and necessity of such measures. Is this possible! said Vivaldi internally. Can this be in human nature !-Can such horrible perversion of right be permitted! Can man, who calls himself endowed with reason, and immeasurably superior to every other created being, argue himself into the commission of such horrible folly, such inveterate cruelty, as exceeds all the acts of the most irrational and ferocious brute! Brutes do not deliberately slaughter their species; it remains for man only,-man, proud of his prerogative of reason, and boasting of his sense of justice, to unite the most terrible extremes of folly and wickedness! Vivaldi had been no stranger to the existence of this tribunal; he had long understood the nature of the establishment, and had often received particular accounts of its customs and laws; but, though he had believed before, it was now only that conviction appeared to impress his understanding. A new view of human nature seemed to burst, at once, upon his mind, and he could not have experienced great |