i did not get much sleep that night after the excitements of the day, but towards the morning fell into an uneasy slumber, during which i had fragmentary dreams in which pallanza, the contessa, and the antique chamber were all mixed up together. one moment i was at the iron door of the tomb, and the guardian angel took the semblance of signora morone; the next i was kneeling beside the corpse of pallanza, illuminated by the faint light of the candles; and i ever saw the pallid shade of donna renata pointing towards the watchful face of her husband, filled with ghastly meanings in the dim shadows. no wonder, after these terrific visions which blended the real and the ideal, i awoke in the grey morning light unrefreshed and haggard; so when the waiter brought me my roll and coffee i left them untouched, and, lying quietly in bed, wondered what step it was necessary to take next in solving this riddle.
riddle do i say? no! it was a riddle no longer, save as to the visit of the contessa to the vault of her family, for otherwise everything was clear enough. she had met pallanza at rome, and had fallen in love with his handsome face. the young man, flattered by the attentions of a great lady, had yielded readily enough to the charm of the situation, but, growing tired of the intrigue, had come to verona, where bianca awaited him, with the intention of breaking it off. with a woman of giulietta morone's fiery nature the sequel can easily be guessed--she had followed him hither, and having in some way forced him to come to the deserted palace, had there poisoned him out of revenge for his contemplated infidelity.
of course, this was all theoretical, but from one thing and another i guessed that this could be the only feasible way of accounting for the whole affair. two points, however, remained to be cleared up before the reading of the riddle could be successfully accomplished: the first being the reason of the burial-ground episode, the second the strange disappearance of the dead man's body.
in thinking over the legend related by peppino, one thing struck me as peculiar--that donna renata had never been seen again after her husband entered the chamber, and i guessed from this that there was some secret oubliette or alcove in the room, with a concealed entrance in which mastino morone had entombed his guilty wife as a punishment for her crimes. doubtless, from tradition or from old family papers, madame morone knew of this secret hiding-place, and having killed pallanza, had put his body therein so as to destroy all evidences of her criminality. no one had seen pallanza enter this deserted palace, so once his body was hidden in the secret alcove it would remain there for ever undiscovered, and no human being, save the contessa herself, could ever tell what had become of him. she, for her own sake, would remain silent, and thus guiseppe pallanza's fate would remain a mystery for evermore.
fortunately, however, god, who had thus permitted this evil woman to conceive and carry out her crime, had also permitted me to behold the murder, so that, secure as she no doubt felt of her safety, yet one word from me and the whole affair would be revealed. i never thought, however, of going to the veronese police and telling them what i had seen, as in their suspicions of foreigners they would doubtless regard me as an accessory, and thus i would get myself into trouble, which i had no desire to do. i therefore determined to once more go to the fatal chamber and make a final effort to discover what had become of the body of the unfortunate pallanza.
so far so good, but now the question arose, how much of this story was i to reveal to bianca? i could not tell her the whole, for if the body of her lover were discovered, the poor child would suffer quite enough without the additional information of guiseppe's infidelity; so, making a virtue of necessity, i determined upon telling her a pious lie. to do this it was necessary to leave out the contessa morone altogether, as the least mention of a woman's name would arose bianca's suspicions, and for the contessa i substituted a robber, who had decoyed guiseppe to the deserted palace by means of a false letter, and there ended his life. of course it was somewhat difficult to be consistent in the narrative; but i was so anxious to hide the cruel truth of pallanza's worthlessness from bianca that i went over the story i had invented, again and again, until i thought i had the whole pious fraud quite perfect.
having thus arranged my plans, i arose, finished my roll and coffee, then, having dressed myself rapidly, set off at once for the casa angello, as it was nearly time for my lesson. all my bruises were now quite well, yet i felt very depressed and downcast, as the state of nervous excitement which i had been in for the last few days had told terribly on my system. however, having once put my hand to the plough i could not, with satisfaction to myself, turn back; and although i heartily dreaded the coming interview with bianca, yet it was unavoidable, as the poor child was so anxious over her lost lover that it was necessary to tell my fictitious story without delay in order to set her mind at rest.
on my arrival at the casa angello i found no one there but bianca, who was anxiously awaiting me. it appeared that the maestro had taken it into his head that he would like a walk in the sunshine, and had gone out under the care of petronella; but, as bianca knew i was coming to take my usual lesson, and was anxious to hear if i had any news of her lover, she remained indoors to speak to me.
the "fiorè della casa," as old petronella tenderly called her in the poetic language of the italians, looked even paler than usual, and the dark shadows under her dark eyes made them appear wonderfully large and star-like. she had a bunch of delicate lilies-of-the-valley in the bosom of her white dress, and she looked as pale and blanched as the frail flowers themselves. lying back on the green-covered sofa on which she was seated, she reminded me of a late snowflake resting on the emerald grass of early spring, which at any moment might vanish under the pale rays of the sun.
we were talking together in the room in which i generally had my lessons, and my eyes wandered from one thing to another with vague hesitation as i looked everywhere but on the face of this delicate girl to whom i had to tell such a cruel story--for, soften it as i might, the story was cruel and could not fail to affect her terribly. every object in the apartment photographed itself on my memory with terrible distinctness, and, even after the lapse of years, by simply closing my eyes i can recall the whole scene with the utmost truthfulness. the dull red of the terra-cotta floor, the heavy time-worn furniture, covered with faded green rep, the small ebony piano with its glistening white keys alternating with the black, the mirror-fronted press in which petronella kept everything from food to clothes, the many photographs of operatic celebrities, and the gaudily painted picture of st. paul, the maestro's patron saint, encircled by a faded wreath of withered laurel-leaves and dead flowers, flung to some favourite pupil in her hour of triumph. even the view from the window i can recall, with the slender campanile tower, from whence every quarter rang the brazen bells, and then the faltering voice of bianca, "fiorè della casa," stealing like a melancholy wind through the silence of the room.
"signor!" she said, twisting her thin white hands nervously together, "you have something to tell me of guiseppe. i can see it in your face--is it good or evil?"
"what does my face tell you, signorina?"
"evil, evil! your eyes are sad, your mouth does not smile! oh, tell me quickly what you know! is he found? is he ill? is he--dead?"
she brought out the last word in a shrill scream, with dilated eyes that almost terrified me by the fear expressed in them, and, dreading the effect of a sudden shock on this fragile child, i hastily replied in the negative.
"no, signorina, no! do not look so fearful, i pray you. he is not dead. child, i am sure he is not dead!"
"then you have not found him yet?"
"no; i have not found him, but i think i know where he is to be found."
"what do you mean, signor hugo, tell me all--tell me all. see, i am strong, i can bear it--i wish to know everything."
"signorina, the note which guiseppe pallanza received at the ezzelino was not from a friend but from an enemy."
"an enemy!"
"yes! from one who wished him ill. thinking it was from his dying friend, he obeyed the letter and was lured to the deserted palazzo morone."
"i do not know that palazzo, signor. i am a stranger in verona."
"i know where it is, signorina, for on that night i was wandering about near it, when i saw pallanza go into it alone. knowing the evil reputation of the place, i followed him, although he was a stranger to me. he went to a room in the palace where his enemy met him, and--and----"
"yes! yes, signor--for the love of the saints, go on."
"i can tell you no more, signorina, except that i do not believe guiseppe left that room again. i believe he is there still, perhaps held captive by the robber who lured him thither in the hope of obtaining a ransom."
bianca looked at me searchingly. she was a simple little thing as a rule, but this ridiculous story i had manufactured of brigands in the heart of verona was too much even for her confiding nature, and she made a gesture of disbelief.
"it is not true! it is not true!" she cried vehemently. "why do you deceive me, signor?"
"i am not deceiving you."
"an enemy! a false letter! a deserted palace! held captive! oh, i cannot believe it. if it is true, why did you not rescue him?"
"because some one i do not know seized me from behind as i watched, and, rendering me insensible with chloroform, bore me away from the palace. i had great difficulty in finding it again, i assure you."
"signor, your story is that of a dream. i cannot believe you."
"it is true, nevertheless."
bianca said nothing, but tapped her little foot on the ground with a thoughtful frown on her small face. i was glad that my task was over, for absurd as was the story i had told her, it was more merciful than the truth. now that i had to some extent quieted her fears by telling her that guiseppe was alive--a thing, alas! that i could not be certain of myself--i hoped to get away at once to the palazzo morone and make one last effort to find his body. if i failed there would be nothing left for me to do but to inform the police, and in the interests of bianca i was unwilling to do this until i had exhausted every means of solving the mystery myself.
suddenly bianca's face cleared, and she looked at me with steady determination.
"signor, you know this palazzo?"
"yes, signorina."
"and this room where you think guiseppe is held captive?"
"i do, signorina."
"then take me to it at once."
she started to her feet with a deep flush on her face, and threw out her hands towards me with an appealing gesture. as for me, i sat still, transfixed with astonishment at the spirit displayed by this gentle girl, who was thus willing to dare the dangers, of the unknown in order to save her lover.
"take me to it at once!" she repeated quickly.
"signorina, i--i cannot. you are mad to think of such a thing."
"is your story true or false, signor hugo?"
"true! yes, it is true!"
"then i will judge of its truth myself--with my own eyes. wait, i will put on my hat, and you will take me to this palazzo at once."
"signorina----"
"not another word, i have made up my mind. you promised to be my friend, signor hugo. i hold you to that promise. ecco!"
she was gone before i could utter further remonstrance, and during her absence i reflected rapidly. it was true that guiseppe was dead, that i believed his body was concealed somewhere in that room, so perhaps after all it was best that bianca should come, as her quick woman's wit might succeed where i had failed. she knew nothing about the implication of the contessa morone in the affair, the palazzo would be quite deserted during the daytime, so i would be able to take her there, let her examine the room, and if by chance the truth was revealed that guiseppe was dead, it would be a more merciful way than by the lips of a stranger. yes, i would take her there at once. if we failed in our mission she would be no wiser than before, but if we succeeded--ah! how i pitied the poor child if we succeeded in finding out the terrible secret of the contessa. at this moment she returned trembling with ill-suppressed excitement.
"well, signor hugo, are you ready--are you willing to help me?"
"with all my heart, signorina."
"ebbene! come, then."
she ran lightly out of the room, and i followed with a heavy heart, for i had a presentiment of evil. i feared that fatal chamber, which held so many impure memories--i feared the discovery of the dead--i feared for this child who went forward in ignorance to face such horrors.
