Antonio-Pericles had this, in his case, singular piece of delicacy, that he refrained from the attempt to see Vittoria immediately after he had flung his magnificent bouquet of treasure at her feet. In his intoxication with the success which he had foreseen and cradled to its apogee, he was now reckless of any consequences. He felt ready to take patriotic Italy in his arms, provided that it would succeed as Vittoria had done, and on the spot. Her singing of the severe phrases of the opening chant, or hymn, had turned the man, and for a time had put a new heart in him. The consolation was his also, that he had rewarded it the most splendidly—as it were, in golden italics of praise; so that her forgiveness of his disinterested endeavour to transplant her was certain, and perhaps her future implicit obedience or allegiance bought. Meeting General Pierson, the latter rallied him.

'Why, my fine Pericles, your scheme to get this girl out of the way was capitally concerted. My only fear is that on another occasion the Government will take another view of it and you.'

Pericles shrugged. 'The Gods, my dear General, decree. I did my best to lay a case before them; that is all.'

'Ah, well! I am of opinion you will not lay many other cases before the

Gods who rule in Milan.'

'I have helped them to a good opera.'

'Are you aware that this opera consists entirely of political allusions?'

General Pierson spoke offensively, as the urbane Austrian military permitted themselves to do upon occasion when addressing the conquered or civilians.

'To me,' returned Pericles, 'an opera—it is music. I know no more.'

'You are responsible for it,' said the General, harshly. 'It was taken upon trust from you.'

'Brutal Austrians!' Pericles murmured. 'And you do not think much of her voice, General?'

'Pretty fair, sir.'

'What wonder she does not care to open her throat to these swine!' thought the changed Greek.

Vittoria's door was shut to Agostino. No voice within gave answer. He tried the lock of the door, and departed. She sat in a stupor. It was harder for her to make a second appearance than it was to make the first, when the shameful suspicion cruelly attached to her had helped to balance her steps with rebellious pride; and more, the great collected wave of her ambitious years of girlhood had cast her forward to the spot, as in a last effort for consummation. Now that she had won the public voice (love, her heart called it) her eyes looked inward; she meditated upon what she had to do, and coughed nervously. She frightened herself with her coughing, and shivered at the prospect of again going forward in the great nakedness of stagelights and thirsting eyes. And, moreover, she was not strengthened by the character of the music and the poetry of the second Act:—a knowledge of its somewhat inferior quality may possibly have been at the root of Agostino's dread of an anticlimax. The seconda donna had the chief part in it—notably an aria (Rocco had given it to her in compassion) that suited Irma's pure shrieks and the tragic skeleton she could be. Vittoria knew how low she was sinking when she found her soul in the shallows of a sort of jealousy of Irma. For a little space she lost all intimacy with herself; she looked at her face in the glass and swallowed water, thinking that she had strained a dream and confused her brain with it. The silence of her solitary room coming upon the blaze of light the colour and clamour of the house, and the strange remembrance of the recent impersonation of an ideal character, smote her with the sense of her having fallen from a mighty eminence, and that she lay in the dust. All those incense-breathing flowers heaped on her table seemed poisonous, and reproached her as a delusion. She sat crouching alone till her tirewomen called; horrible talkative things! her own familiar maid Giacinta being the worst to bear with.

Now, Michiella, by making love to Leonardo, Camillo's associate, discovers that Camillo is conspiring against her father. She utters to Leonardo very pleasant promises indeed, if he will betray his friend. Leonardo, a wavering baritono, complains that love should ask for any return save in the coin of the empire of love. He is seduced, and invokes a malediction upon his head should he accomplish what he has sworn to perform. Camilla reposes perfect confidence in this wretch, and brings her more doubtful husband to be of her mind.

Camillo and Camilla agree to wear the mask of a dissipated couple. They throw their mansion open; dicing, betting, intriguing, revellings, maskings, commence. Michiella is courted ardently by Camillo; Camilla trifles with Leonardo and with Count Orso alternately. Jealous again of Camilla, Michiella warns and threatens Leonardo; but she becomes Camillo's dupe, partly from returning love, partly from desire for vengeance on her rival. Camilla persuades Orso to discard Michiella. The infatuated count waxes as the personification of portentous burlesque; he is having everything his own way. The acting throughout— owing to the real gravity of the vast basso Lebruno's burlesque, and Vittoria's archness—was that of high comedy with a lurid background. Vittoria showed an enchanting spirit of humour. She sang one bewitching barcarole that set the house in rocking motion. There was such melancholy in her heart that she cast herself into all the flippancy with abandonment. The Act was weak in too distinctly revealing the finger of the poetic political squib at a point here and there. The temptation to do it of an Agostino, who had no other outlet, had been irresistible, and he sat moaning over his artistic depravity, now that it stared him in the face. Applause scarcely consoled him, and it was with humiliation of mind that he acknowledged his debt to the music and the singers, and how little they owed to him.

Now Camillo is pleased to receive the ardent passion of his wife, and the masking suits his taste, but it is the vice of his character that he cannot act to any degree subordinately in concert; he insists upon positive headship!—(allusion to an Italian weakness for sovereignties; it passed unobserved, and chuckled bitterly over his excess of subtlety). Camillo cannot leave the scheming to her. He pursues Michiella to subdue her with blandishments. Reproaches cease upon her part. There is a duo between them. They exchange the silver keys, which express absolute intimacy, and give mutual freedom of access. Camillo can now secrete his followers in the castle; Michiella can enter Camilla's blue-room, and ravage her caskets for treasonable correspondence. Artfully she bids him reflect on what she is forfeiting for him; and so helps him to put aside the thought of that which he also may be imperilling.

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