it
to the Shades.

The villagers are heard approaching. 'My father!' cries Michiella,
distractedly; 'the hour is near: it will be death to your daughter!
Imprison Camillo: I can bring twenty witnesses to prove that he has
sworn you are illegally the lord of this country. You will rue the
marriage. Do as you once did. Be bold in time. The arrow-head is on the
string-cut the string!'

'As I once did?' replies Orso with frown terrific, like a black crest.
He turns broadly and receives the chorus of countrymen in paternal
fashion--an admirably acted bit of grave burlesque.

By this time the German portion of the audience had, by one or other
of the senses, dimly divined that the opera was a shadow of something
concealed--thanks to the buffo-basso Lebruno. Doubtless they would
have seen this before, but that the Austrian censorship had seemed so
absolute a safeguard.

'My children! all are my children in this my gladsome realm!' Count Orso
says, and marches forth, after receiving the compliment of a choric song
in honour of his paternal government. Michiella follows him.

Then came the deep suspension of breath. For, as upon the midnight you
count bell-note after bell-note of the toiling hour, and know not in the
darkness whether there shall be one beyond it, so that you hang over
an abysm until Twelve is sounded, audience and actors gazed with equal
expectation at the path winding round from the castle, waiting for the
voice of the new prima donna.

'Mia madre!' It issued tremblingly faint. None could say who was to
appear.

Rocco Ricci struck twice with his baton, flung a radiant glance across
his shoulders for all friends, and there was joy in the house. Vittoria
stood before them.

CHAPTER XX

THE OPERA OF CAMILLA

She was dressed like a noble damsel from the hands of Titian. An Italian
audience cannot but be critical in their first glance at a prima donna,
for they are asked to do homage to a queen who is to be taken on her
merits: all that they have heard and have been taught to expect of
her is compared swiftly with the observation of her appearance and
her manner. She is crucially examined to discover defects. There is
no boisterous loyalty at the outset. And as it was now evident that
Vittoria had chosen to impersonate a significant character, her
indications of method were jealously watched for a sign of inequality,
either in her, motion, or the force of her eyes. So silent a reception
might h