effects upon her appearance. Gianbattista, as usual after working hours, was arrayed in clothes of fashionable cut, aiming at a distant imitation of the imaginary but traditional English tourist. A murderous collar supported his round young chin, and a very stiffly-constructed pasteboard-lined tie was adorned by an exquisite silver pin of his own workmanship—the only artistic thing about him.

Besides these members of the family, there was a fourth person at supper, the person whom, of all others, Marzio detested, Paolo Pandolfi, his brother the priest, commonly called Don Paolo. He deserves a word of description, for there was in his face a fleeting resemblance to Marzio, which might easily have led a stranger to believe that there was a similarity between their characters. Tall, like his brother, the priest was a little less thin, and evidently far less nervous. The expression of his face was thoughtful, and the deep, heavily-ringed eyes were like Marzio's, but the forehead was broader, and the breadth ascended higher in the skull, which was clearly defined by the short, closely-cropped hair and the smooth tonsure at the back. The nose was larger and of more noble shape, and Paolo's complexion was less yellow than his brother's; the features were not surrounded by furrows or lines, and the leanness of the priest's face threw them into relief. The clean shaven upper lip showed a kind and quiet mouth, which smiled easily and betrayed a sense of humour, but was entirely free from any suggestion of cruelty. Don Paolo was scrupulous of his appearance, and his cassock and mantle were carefully brushed, and his white collar was immaculately clean. His hands were of the student type—white, square at the tips, lean, and somewhat knotty.

Marzio, in his ill-humour, had no doubt flattered himself that his family would wait for him for supper. But his family had studied him and knew his ways. When he was not punctual, he seldom came at all, and a quarter of an hour was considered sufficient to decide the matter.

"What are we waiting to do?" exclaimed Maria Luisa, in the odd Italian idiom. "Marzio is in his humours—he must have gone to his friends. Ah! those friends of his!" she sighed. "Let us sit down to supper," she added; and, from her tone, the idea of supper seemed to console her for her husband's absence.

"Perhaps he guessed that I was coming," remarked Don Paolo, with a smile. "In that case he will be a little nervous with me when he comes back. With your leave, Maria Luisa," he added, by way of announcing that he would say grace. He gave the short Latin benediction, during which Gianbattista never looked away from Lucia's face. The boy fancied she was never so beautiful as when she stood with her hands folded and her eyes cast down.

"Marzio does not know what I have come for," began Don Paolo again, as they all sat down to the square table in the little room. "If he knew, perhaps he might have been here—though perhaps he would not care very much after all. You all ask what it is? Yes; I will tell you. His Eminence has obtained for me the canonry that was vacant at Santa Maria Maggiore—"

At this announcement everybody sprang up and embraced Don Paolo, and overwhelmed him with congratulations, reproaching him at the same time for having kept the news so long to himself.

"Of course, I shall continue to work with the Cardinal," said the priest, when the family gave him time to speak. "But it is a great honour. I have other news for Marzio—"

"I imagine that you did not count upon the canonry as a means of pleasing him," remarked the Signora, Pandolfi, with a smile.

"No, indeed," laughed Lucia. "Poor papa—he would rather see you sent to be a curate in Cività Lavinia!"

"Dear me! I fear so," answered Don Paolo, with a shade of sadness. "But I have a commission for him. The Cardinal has ordered another crucifix, which he desires should be Marzio's masterpiece—silver, of course, and large. It must be altogether the finest thing he has ever made, when it is finished."

"I daresay he will be very much pleased," said Maria Luisa, smiling comfortably.

"I wish he could make the figure solid, cast and chiselled, instead of repoussé," remarked Gianbattista, whose powerful hands craved heavy work by instinct.

"It would be a pity to waste so much silver; and besides, the effects are never so light," said Lucia, who, like most artists' daughters, knew something of her father's work.

"What is a little silver, more or less, to the Cardinal?" asked Gianbattista, with a little scorn; but as he met the priest's eye his expression instantly became grave.

The apprentice was very young; he was not beyond that age at which, to certain natures, it seems a fine thing to be numbered among such men as Marzio's friends. But at the same time he was not old enough, nor independent enough, to exhibit his feelings on all occasions. Don Paolo exercised a dominant influence in the Pandolfi household. He had the advantage of being calm, grave, and thoroughly in earnest, not easily ruffled nor roused to anger, any more than he was easily hurt. By character sensitive, he bore all small attacks upon himself with the equanimity of a man who believes his cause to be above the need of defence against little enemies. The result was that he dominated his brother's family, and even Marzio himself was not free from a certain subjection which he felt, and which was one of the most bitter elements in his existence. Don Paolo imposed respect by his quiet dignity, while Marzio asserted himself by speaking loudly and working himself voluntarily into a state of half-assumed anger. In the contest between quiet force and noisy self-assertion the issue is never doubtful. Marzio lacked real power, and he felt it. He could command attention among the circle of his associates who already sympathised with his views, but in the presence of Paolo he was conscious of struggling against a superior and incomprehensible obstacle, against the cool and unresentful disapprobation of a man stronger than himself. It was many years since he had ventured to talk before his brother as he talked when he was alone with Gianbattista, and the latter saw the change that came over his master's manner before the priest, and guessed that Marzio was morally afraid. The somewhat scornful allusion to the Cardinal's supposed wealth certainly did not constitute an attack upon Don Paolo, but Gianbattista nevertheless felt that he had said something rather foolish, and made haste to ignore his words. The influence could not be escaped.

It was this subtle power that Marzio resented, for he saw that it was exerted continually, both upon himself and the members of his household. The chiseller acknowledged to himself that in a great emergency his wife, his daughter, and even Gianbattista Bordogni, would most likely follow the advice of Don Paolo, in spite of his own protests and arguments to the contrary. He fancied that he himself alone was a free agent. He doubted Gianbattista, and began to think that the boy's character would turn out a failure. This was the reason why he no longer encouraged the idea of a marriage between his daughter and his apprentice, a scheme which, somewhat earlier, had been freely discussed. It had seemed an admirable arrangement. The young man promised to turn out a freethinker after Marzio's own heart, and showed a talent for his profession which left nothing to be desired. Some one must be ready to take Marzio's place in the direction of the establishment, and no one could be better fitted to undertake the task than Gianbattista. Lucia would inherit her father's money as the capital for the business, and her husband should inherit the workshop with all the stock-in-trade. Latterly, however, Marzio had changed his mind, and the idea no longer seemed so satisfactory to him as at first. Gianbattista was evidently falling under the influence of Don Paolo, and that was a sufficient reason for breaking off the match. Marzio hardly realised that as far as his outward deportment