for you. The brothers will attend to those refreshments which are needed after so long a journey; and when you have rested and supped, we shall hope to see you a little more quietly."

So saying, he signed to one or two brothers who stood by, and, commending the travellers to their care, left the apartment.

In a few moments a table was spread with a plain and wholesome repast, to which the two travellers sat down with appetites sharpened by their long journey.

During the supper, the brothers of the convent, among whom Father Antonio had always been a favorite, crowded around him in a state of eager excitement.

"You should have been here the last week," said one; "such a turmoil as we have been in!"

"Yes," said another,—"the Pope hath set on the Franciscans, who, you know, are always ready enough to take up with anything against our order, and they have been pursuing our father like so many hounds."

"There hath been a whirlwind of preaching here and there," said a third,—"in the Duomo, and Santa Croce, and San Lorenzo; and they have battled to and fro, and all the city is full of it."

"Tell him about yesterday, about the ordeal," shouted an eager voice.

Two or three voices took up the story at once, and began to tell it,—all the others correcting, contradicting, or adding incidents. From the confused fragments here and there Agostino gathered that there had been on the day before a popular spectacle in the grand piazza, in which, according to an old superstition of the Middle Ages, Frà Girolamo Savonarola and his opponents were expected to prove the truth of their words by passing unhurt through the fire; that two immense piles of combustibles had been constructed with a narrow passage between, and the whole magistracy of the city convened, with a throng of the populace, eager for the excitement of the spectacle; that the day had been spent in discussions, and scruples, and preliminaries; and that, finally, in the afternoon, a violent storm of rain arising had dispersed the multitude and put a stop to the whole exhibition.

"But the people are not satisfied," said Father Angelo; "and there are enough mischief-makers among them to throw all the blame on our father."

"Yes," said one, "they say he wanted to burn the Holy Sacrament, because he was going to take it with him into the fire."

"As if it could burn!" said another voice.

"It would to all human appearance, I suppose," said a third.

"Any way," said a fourth, "there is some mischief brewing; for here is our friend Prospero Rondinelli just come in, who says, when he came past the Duomo, he saw people gathering, and heard them threatening us: there were as many as two hundred, he thought."

"We ought to tell Father Girolamo," exclaimed several voices.

"Oh, he will not be disturbed!" said Father Angelo. "Since these affairs, he hath been in prayer in the chapter-room before the blessed Angelico's picture of the Cross. When we would talk with him of these things, he waves us away, and says only, 'I am weary; go and tell Jesus.'"

"He bade me come to him after supper," said Father Antonio. "I will talk with him."

"Do so,—that is right," said two or three eager voices, as the monk and Agostino, having finished their repast, arose to be conducted to the presence of the father.

CHAPTER XXI.

THE ATTACK ON SAN MARCO.

They found him in a large and dimly lighted apartment, sitting absorbed in pensive contemplation before a picture of the Crucifixion by Frà Angelico, which, whatever might be its naïve faults of drawing and perspective, had an intense earnestness of feeling, and, though faded and dimmed by the lapse of centuries, still stirs in some faint wise even the practised dilettanti of our day.

The face upon the cross, with its majestic patience, seemed to shed a blessing down on the company of saints of all ages who were grouped by their representative men at the foot. Saint Dominic, Saint Ambrose, Saint Augustin, Saint Jerome, Saint Francis, and Saint Benedict were depicted as standing before the Great Sacrifice in company with the Twelve Apostles, the two Maries, and the fainting mother of Jesus,—thus expressing the unity of the Church Universal in that great victory of sorrow and glory. The painting was inclosed above by a semicircular bordering composed of medallion heads of the Prophets, and below was a similar medallion border of the principal saints and worthies of the Dominican order. In our day such pictures are visited by tourists with red guide-books in their hands, who survey them in the intervals of careless conversation; but they were painted by the simple artist on his knees, weeping and praying as he worked, and the sight of them was accepted by like simple-hearted Christians as a perpetual sacrament of the eye, by which they received Christ into their souls.

So absorbed was the father in the contemplation of this picture, that he did not hear the approaching footsteps of the knight and monk. When at last they came so near as almost to touch him, he suddenly looked up, and it became apparent that his eyes were full of tears.

He rose, and, pointing with a mute gesture toward the painting, said,—

"There is more in that than in all Michel Angelo Buonarotti hath done yet, though he be a God-fearing youth,—more than in all the heathen marbles in Lorenzo's gardens. But sit down with me here. I have to come here often, where I can refresh my courage."

The monk and knight seated themselves, the latter with his attention riveted on the remarkable man before him. The head and face of Savonarola are familiar to us by many paintings and medallions, which, however, fail to impart what must have been that effect of his personal presence which so drew all hearts to him in his day. The knight saw a man of middle age, of elastic, well-knit figure, and a flexibility and grace of motion which seemed to make every nerve, even to his finger-ends, vital with the expression of his soul. The close-shaven crown and the plain white Dominican robe gave a severe and statuesque simplicity to the lines of his figure. His head and face, like those of most of the men of genius whom modern Italy has produced, were so strongly cast in the antique mould as to leave no doubt of the identity of modern Italian blood with that of the great men of ancient Italy. His low, broad forehead, prominent Roman nose, well-cut, yet fully outlined lips, and strong, finely moulded jaw and chin, all spoke the old Roman vigor and energy, while the flexible delicacy of all the muscles of his face and figure gave an inexpressible fascination to his appearance. Every emotion and changing thought seemed to flutter and tremble over his countenance as the shadow of leaves over sunny water. His eye had a wonderful dilating power, and when he was excited seemed to shower sparks; and his voice possessed a surprising scale of delicate and melodious inflections, which could take him in a moment through the whole range of human feeling, whether playful and tender or denunciatory and terrible. Yet, when in repose among his friends, there was an almost childlike simplicity and artlessness of manner, which drew the heart by an irresistible attraction. At this moment it was easy to see by his pale cheek and the furrowed lines of his face that he had been passing through severe struggles; but his mind seemed stayed on some invisible centre, in a solemn and mournful calm.

"Come, tell me something of the good works of the Lord in our Italy, brother," he said, with a smile which was almost playful in its brightness. "You have been