M>V^N.\W^-R'»\i! &< Lt. A)IU 4 J ^ 4 L ilUGH CEICHTON'S KOMANCE VOL. I. HUGH CRICHTON'S ROMANCE BT CHKISTABEL R. COLERIDGE AUTHOR OF ' LADY BETTY ' "^abt is n ^rtstnt for a IHigbtn ^htg IN THREE VOLUMES VOL. I. bonbon MACMILLAN AND CO. 1875 All rights leserved » 8^3 V. 1. DEDICATED TO M. R. P. WITH THANKS CONTENTS OF THE FIRST VOLUME. PART I. HUGH'S STORY. CHAP. PAGB I. VIOLANTE 3 II. MR. SPENCEK. CRICHTON . . 19 III. THE SINGING CLASS 36 IV. THE MATTEI FAMILY . 55 V. IL DON GIOVANNI 77 VI. BROTHERLY COUNSEL . 90 VII. WHITE FLOWERS 104 PART IL CONTRASTS. VIIl. THE TIME OF EOSES . . . 123 IX. OXLEY MANOR . . • 142 X. PROS AND CONS . . .162 Vlll CONTENTS OF THE FIRST VOLUME. CHAP. PAGE XI. CONTEART WINDS . . . 185 XII. LEFT TO HEESELF . . . 201 PART III. ARTHURS STORY. XIII. MTSIE .... 217 XIV. SMOOTH WATERS . . . 240 XV. OUT m THE COLD . . 260 XVI. SUNDAY AND MONDAY . . . 278 PART I. HUGH'S STOEY. The light that never was on sea or land.* VOL. I. B L ICS n^^^^^./^}'^ CHAPTEE 1. YIOLANTE. EUe 6tait pale et pourtant rose, Petite, avec de grands cheveux, EUe disait souvent, ^ Je n'ose/ Et ne disait jamais, ' Je veux.' The sunshine of a summer evening was, bathing Civita Bella with an intensity of beauty rare even in that fair Italian town. When the shadows are sharp, and the lights clear, and the sky a serene and perfect blue, even fustian and broadcloth have a sort of picturesqueness, slates and bricks show un- expected colours, and chance tree tops tell with effect even in London squares and sub- urbs. Then harsh tints harmonise and B 2 4 HUGH CRICHTONS ROMANCE. homely faces look fair, while fair ones catch the eye more quickly ; every flower basket in the streets shows whiter pinks and redder roses than those which were passed unseen in yesterday's rain, the street gutters catch a sparkle of distant streamlets, and the street children at their play group into pictures. Eor the sun is a great enchanter, and nothing in nature but sad human hearts can resist his brightness. Civita Bella needed no ad- ventitious aid to enhance its beauty. The fretted spires and carved balconies, quaint :gables and decorated walls, were the in- heritance of centuries of successful art, and their varied hues were only harmonised by the years that had passed since some master spirit had given them to the world, or since they had grown up in obedience to the inspiring in- fluence of an art-loving generation. Down a side street, apart from the clhef centres of modem hfe, stood an old ducal palace. The very name of its princely owners had long VIOLANTE. 5 ago faded out of the land, and no one alive bore on his shield the strange devices carved over its portico. It lay asleep in the sun- shine, lifting its broken pinnacles and muti- lated carvings to the blue sky, still beautiful with the pathetic beauty of 'the days that are no more/ The old palace was let in flats, and on one of the upper stories flower-pots and muslin curtains peeped gaily out of the dim, broken marbles with a kind of pleasant in- congriuty, like a child in a convent. Within the muslin curtains was a long, spacious room, with inlaid floor and colom^ed walls, with a broad band of bas-rehefs round the top leading the eye to the carved and painted ceihng above. There was very little furniture, a grand piano being the most con- spicuous object, and the lofty windows were shaded by Venetian blinds ; but round the farthest, which was partly open, were grouped a few chairs and tables, with an unmistak- 6 HUGH CRICHTO^^ S ROMANCE. able attempt to give an air of modern, not to say English, comfort to one part of the vast, half-inhabited chamber. A brown-faced, shrewd-eyed Italian wo- man, with gold pins in her grey hair and gold beads romid her neck, and a young lady in an ordinary muslin dress, were standing together contemplating and criticising a young girl who stood in front of them, dressed in the costume of an Itahan peasant. That is to say, she wore a short skirt and a white bodice, but the skirt was of rose-coloured silk, the bodice of fine cambric ; her tiny hat was more coquettish than correct in detail, and the little hands playing with the cross round her neck had surely never toiled for their daily bread. Yet she looked a little tired and a little sad, and her companions were noticing her appearance with the gravity that pertains to a matter of business. 'I think that will do,' said the young VIOLANTE. 7 lady, in a clear, decided voice. ' She looks very pretty.' ' Oh, bella — bellissima ! ' said the old Italian woman, clapping her hands. ' But when is not la signorina charming ? ' 'It does not alter her much. Violante, does it inspire you ? ' ' I think it is very pretty ; and you know, Eosa, I shall be rouged, and perhaps my eyes will be painted if they don't show enough/ said Violante, simply. ' You don't mind that ? ' said Eosa, curi- ously. ' No ! ' with a half-surprised look in the soft pathetic eyes ; ' I am glad. Then father will not see when I am pale. It will be hidden.' ' Oh, my child, you will not look pale then. So, Zerhna, you want another bow on your apron ; and then this great dress is off one's mind. We must let father look at you.' 8 HUGH CRICHTON'S EOMANCE. ' Do you think he will say I look hand- some enough ? ' said Yiolante, anxiously. Eosa laughed. ' I don't know what he may say, but I am sure of what he will think. And besides, he is not the public. Thank you, Maddalena, we need not keep you now.' And, as the old woman departed, Eosa took the little muslin apron and began to sew a bright bow on it ; while Violante stood by her side, manifestly afraid " of injuring her costume by sitting down in it. She looked very pretty, as her sister had said, but her anxious, serious look was little in accord- ance with her gay stage costume. ' You see,' said Eosa, as she pinched up her loops of ribbon, ' we have a great many friends. All the members of the singing-class will go, so you will not feel that you are acting to strangers.' ' I think Madame Tollemache will go,' said Violante. VIOL ANTE. af ' Of course, and her son, and Emily, and they will take Mr. Crichton.' A sudden brightness came over the girl's soft eyes and hps, as she stood behind her sister's chair. ' Eosa, mia,' she said, ' you understand about England. What is it il signor — ah, I cannot say his name — does in his own country ? ' ' Yiolante, you talk a great deal of English, why cannot you learn how to call people's names ? Crichton ; Spencer Crichton.' ' He should not have two hard names,' said Yiolante, with a little pout. ' I would rather call him il signor Hugo." ' Well, as you like,' said Eosa, laughing. ' And he lives in a beautiful palazzo, with trees and a river ? ' ' Does he ? ' said Eosa, ' I should doubt it exceedingly. I dare say he has a very nice house. There are no palaces, "Yiolante, in 10 HUGH CRICHTON's ROMAXCE. England, except for bishops, and for the Queen ; certainly not for bankers.' ' And what is a banker ? ' ' Well.' said Eosa, a little puzzled in her turn ; ' he takes care of people's money for them ; it is a profession.' ' And he is not noble ? ' ' ISTo ; but as he has this country-seat, I suppose he has a position somewhat equiva- lent to what we mean here by noble. You can't understand it, dear ; it is all different. Mr. Crichton works very hard, no doubt, in his own country, and I suppose his long holiday will soon be over.' Yiolante started, and as she stood behind her sister's chair, she hid her face for a moment in her hands. ' But his brother is coming — his brother, who so loves art,' she said, after a pause. ' Ah, yes ; then I daresay they will go home together. But you will have this artistic gentleman to look at you on Tuesday ; VIOLANTE. 11 and we must take care and please your chief admirer before all.' ' Shall I please him ? ' said the girl, with a smile shy and yet half-confident. ' I hope so. Signor Vasari's opinion is of importance.' Violante's face fell, as if it were not the manager of the Civita Bella opera-house whose opinion she had thought of such consequence, but she did not speak till a hasty step sounded on the stair with- out. ' That is father ! ' 'Yes! Here, the apron is ready; tie it on. Oh, my darling, do not look so fright- ened ; you will spoil it all ! ' Violante crept close to her sister and took her hand ; her bosom heaved, her mouth trembled. Manifestly either the result of the inspection was of supreme importance, or she greatly feared the inspector. Eosa kissed her, and, with an encouraging pat on the shoulder, put her away, and 12 HUGH CRICHTON'S EOMANCE. Violante stood with her gay fantastic dress, a strange contrast to the timid, uneasy face of the wearer. ' Ah ha, Mademoiselle Mattel ! So ; very pretty, very pretty. But no ; this is fit for a drawing-room. She might go and drink tea with Madame ToUemache at the Consulate ; she might wear it on a Sunday to church.' ' Oh, father, I am sure I could not !' cried Violante, scandalised. Signor Mattel stood with his head on one side, contemplating her with critical atten- tion, and stroking his long grizzled beard the while. ' She will be efiaced by the foot- lights and the distance ! More ribbons, Eosa ; more braid, more chains, more gilding. A knot there, a bow there ; here a streamer, here some — some efiect ! ' ' But, father, Zerlina was only a peasant girl,' said Violante, timidly. ' Tut-tut, w^hat do you know about it ?' he said, shortly. 'A peasant girl! She is YIOLANTE. 13 the sublimated essence of the coquetry and the charm of a thousand peasant girls ; and till you see that, you silly child, you will never be her worthy representative ! ' 'I understand, father,' interposed Eosa, hastily. 'It is soon done. Will you go and take the dress off, Violante ? ' But as Violante moved, there was the sound of another arrival, and Maddalena announced ' II signor Inglese.' 'Stay, child,' cried Signor Mattel, as Violante was escaping in haste. She paused with a start which might have been caused by the sudden sound of her father's voice, for he let his sentences fall much as if he were cracking a nut. ' Stop ! I have no objection to give the world a tiny sip of the future cup of joy ! What, how will you face the pubhc on Tuesday, if you are afraid of one Enghshman, uneducated, a child in Art?' The httle cantatrice of seventeen stood 14 HUGH CKICHTON'S ROMANCE. flushing and quivering as if only one atom of that terrible public were enough to fill her with dread. But perhaps her father's €ye was more terrible than the stranger's, for she stood still, a spot of gaudy colour in the centre of the great bare room, yet shrinking like a little wild animal in the strange new cage, where it looks in vain for its safe shady hole amid cool ferns and moss. Eosa came forward and shook hands with the new comer, saying, in English, * How do you do, Mr. Crichton ? You find us very busy.' ' I hope I am not in the way. I came for one moment to ask if I might bring my brother to the singing-class to-morrow. He is very fond of music' The speaker had a pleasant voice and accent, spite of a shght formality of address, and although he carried himself with what Signor Mattel called ' English stiffness,' there was also an English air of health and strength VIOLANTE. 15 about his tall figure. The lack of colour and vivacity iu his fair grave features prevented their regularity of form from striking a casual observer, just as a want of variety in their expression caused people to say that Hugh Spencer Crichton had no expression at all. But spite of all detractors, he looked hand- some, sensible, and well bred, and none of his present companions had ever had reason to say that he was grave because their society bored him, formal because he was too proud to be familiar, or silent because he was too unsympathetic to have anything to say. Such remarks had sometimes been made upon him, but it is always well to see people for the first time under favourable circumstances, and so we first see Hugh Crichton in the old Italian palace, enjoying a private view of the future prima donna in her stage dress. ' We shall be dehghted to see your brother, signor,' said the musician, ' as your 16 HUGH CRICHTONS ROMANCE. brother, and, I understand, as a distingmslie