William Dean Howells: 27 Novels in One Volume (Illustrated). William Dean Howells
not only religious points on which they could disagree, but all phases of religion as matters of indifference. At such times Miss Vervain relaxed her reverential attitude, and used him with something like rebuke, as if it did not please her to have the representative of even an alien religion slight his office; as if her respect were for his priesthood and her compassion for him personally. That was rather hard for Don Ippolito, Ferris thought, and waited to see him snubbed outright some day, when he should behave without sufficient gravity.
The blossoms came and went upon the pomegranate and almond trees in the garden, and some of the earliest roses were in their prime; everywhere was so full leaf that the wantonest of the strutting nymphs was forced into a sort of decent seclusion, but the careless naiad of the fountain burnt in sunlight that subtly increased its fervors day by day, and it was no longer beginning to be warm, it was warm, when one morning Ferris and Miss Vervain sat on the steps of the terrace, waiting for Don Ippolito to join them at breakfast.
By this time the painter was well on with the picture of Don Ippolito which the first sight of the priest had given him a longing to paint, and he had been just now talking of it with Miss Vervain.
"But why do you paint him simply as a priest?" she asked. "I should think you would want to make him the centre of some famous or romantic scene," she added, gravely looking into his eyes as he sat with his head thrown back against the balustrade.
"No, I doubt if you think," answered Ferris, "or you'd see that a Venetian priest doesn't need any tawdry accessories. What do you want? Somebody administering the extreme unction to a victim of the Council of Ten? A priest stepping into a confessional at the Frari—tomb of Canova in the distance, perspective of one of the naves, and so forth—with his eye on a pretty devotee coming up to unburden her conscience? I've no patience with the follies people think and say about Venice!"
Florida stared in haughty question at the painter.
"You're no worse than the rest," he continued with indifference to her anger at his bluntness. "You all think that there can be no picture of Venice without a gondola or a Bridge of Sighs in it. Have you ever read the Merchant of Venice, or Othello? There isn't a boat nor a bridge nor a canal mentioned in either of them; and yet they breathe and pulsate with the very life of Venice. I'm going to try to paint a Venetian priest so that you'll know him without a bit of conventional Venice near him."
"It was Shakespeare who wrote those plays," said Florida. Ferris bowed in mock suffering from her sarcasm. "You'd better have some sort of symbol in your picture of a Venetian priest, or people will wonder why you came so far to paint Father O'Brien."
"I don't say I shall succeed," Ferris answered. "In fact I've made one failure already, and I'm pretty well on with a second; but the principle is right, all the same. I don't expect everybody to see the difference between Don Ippolito and Father O'Brien. At any rate, what I'm going to paint at is the lingering pagan in the man, the renunciation first of the inherited nature, and then of a personality that would have enjoyed the world. I want to show that baffled aspiration, apathetic despair, and rebellious longing which you caten in his face when he's off his guard, and that suppressed look which is the characteristic expression of all Austrian Venice. Then," said Ferris laughing, "I must work in that small suspicion of Jesuit which there is in every priest. But it's quite possible I may make a Father O'Brien of him."
"You won't make a Don Ippolito of him," said Florida, after serious consideration of his face to see whether he was quite in earnest, "if you put all that into him. He has the simplest and openest look in the world," she added warmly, "and there's neither pagan, nor martyr, nor rebel in it."
Ferris laughed again. "Excuse me; I don't think you know. I can convince you."...
Florida rose, and looking down the garden path said, "He's coming;" and as Don Ippolito drew near, his face lighting up with a joyous and innocent smile, she continued absently, "he's got on new stockings, and a different coat and hat."
The stockings were indeed new and the hat was not the accustomed nicchio, but a new silk cylinder with a very worldly, curling brim. Don Ippolito's coat, also, was of a more mundane cut than the talare; he wore a waistcoat and small-clothes, meeting the stockings at the knee with a sprightly buckle. His person showed no traces of the snuff with which it used to be so plentifully dusted; in fact, he no longer took snuff in the presence of the ladies. The first week he had noted an inexplicable uneasiness in them when he drew forth that blue cotton handkerchief after the solace of a pinch shortly afterwards, being alone with Florida, he saw her give a nervous start at its appearance. He blushed violently, and put it back into the pocket from which he had half drawn it, and whence it never emerged again in her presence. The contessina his former pupil had not shown any aversion to Don Ippolito's snuff or his blue handkerchief; but then the contessina had never rebuked his finger-nails by the tints of rose and ivory with which Miss Vervain's hands bewildered him. It was a little droll how anxiously he studied the ways of these Americans, and conformed to them as far as he knew. His English grew rapidly in their society, and it happened sometimes that the only Italian in the day's lesson was what he read with Florida, for she always yielded to her mother's wish to talk, and Mrs. Vervain preferred the ease of her native tongue. He was Americanizing in that good lady's hands as fast as she could transform him, and he listened to her with trustful reverence, as to a woman of striking though eccentric mind. Yet he seemed finally to refer every point to Florida, as if with an intuition of steadier and stronger character in her; and now, as he ascended the terrace steps in his modified costume, he looked intently at her. She swept him from head to foot with a glance, and then gravely welcomed him with unchanged countenance.
At the same moment Mrs. Vervain came out through one of the long windows, and adjusting her glasses, said with a start, "Why, my dear Don Ippolito, I shouldn't have known you!"
"Indeed, madama?" asked the priest—with a painful smile. "Is it so great a change? We can wear this dress as well as the other, if we please."
"Why, of course it's very becoming and all that; but it does look so out of character," Mrs. Vervain said, leading the way to the breakfast-room. "It's like seeing a military man in a civil coat."
"It must be a great relief to lay aside the uniform now and then, mother," said Florida, as they sat down. "I can remember that papa used to be glad to get out of his."
"Perfectly wild," assented Mrs. Vervain. "But he never seemed the same person. Soldiers and—clergymen—are so much more stylish in their own dress—not stylish, exactly, but taking; don't you know?"
"There, Don Ippolito," interposed Ferris, "you had better put on your talare and your nicchio again. Your abbate's dress isn't acceptable, you see."
The painter spoke in Italian, but Don Ippolito answered—with certain blunders which it would be tedious to reproduce—in his patient, conscientious English, half sadly, half playfully, and glancing at Florida, before he turned to Mrs. Vervain, "You are as rigid as the rest of the world, madama. I thought you would like this dress, but it seems that you think it a masquerade. As madamigella says, it is a relief to lay aside the uniform, now and then, for us who fight the spiritual enemies as well as for the other soldiers. There was one time, when I was younger and in the subdiaconate orders, that I put off the priest's dress altogether, and wore citizen's clothes, not an abbate's suit like this. We were in Padua, another young priest and I, my nearest and only friend, and for a whole night we walked about the streets in that dress, meeting the students, as they strolled singing through the moonlight; we went to the theatre and to the caffè,—we smoked cigars, all the time laughing and trembling to think of the tonsure under our hats. But in the morning we had to put on the stockings and the talare and the nicchio again."
Don Ippolito gave a melancholy laugh. He had thrust the corner of his napkin into his collar; seeing that Ferris had not his so, he twitched it out, and made a feint of its having been all the time in his lap. Every one was silent as if something shocking had been said; Florida looked with grave rebuke at Don Ippolito, whose story affected Ferris like that of some girl's adventure in men's clothes. He was in terror lest Mrs. Vervain should be going to say it was like that; she was going to say something; he made haste to forestall her, and turn the talk on other things.