Père Etienne, feeling that the struggle with Gzhatski was getting beyond his strength, began to look round for help, and, as a first step, advised Irene to hear some of the sermons that are preached on certain days at most of the principal Roman churches. On the following Sunday, she made her way to San Luigi dei Francesi, a church famous for the eloquence of its preachers. The sermon was to be preached at four o’clock, before Vespers. The organ was playing softly as Irene entered the splendid edifice, with its magnificent marble pillars and bronze decoration. Italian preachers in Rome usually speak from a broad covered rostrum, lined with red cloth, in which frame the preacher, unable to restrain his excitement, strides backwards and forwards, and gesticulates[119] wildly, alternately throwing himself into a chair, and rising again. These broad rostrums are of very ancient origin; their prototype is still to be found among the ruins of the Forum, where they served, in bygone days of the Republic, as platforms from which the populace was addressed.
French preachers do not gesticulate. They mount a little winding stairway, to a round narrow pulpit, with an umbrella-like baldaquin, in which their little figures white-robed, and with black pelerines, look like Chinese dolls. While the Italian priest, in his passionate ardour, smites his chest and thunders at the congregation, his French brother pronounces a calm, well-thought out speech, whose aim is to astonish by its brilliant wit and its fine subtlety.
On this occasion, the sermon was on the subject of the cult of early Christian martyrs. It was, indeed, rather an historical lecture than a sermon. The preacher made a perfectly expressed and masterly exposition of various facts hitherto unknown to Irene, about the catacombs; the high honour in[120] which the tombs of the first Christian martyrs were held, and the respect shown even to false martyrs, i.e., to deceased Christians, given out by their ambitious relatives as saints who had died for the Faith. These falsifications had, according to the preacher, assumed such enormous proportions, that it had been found necessary, in about the second century, to organize a special commission with the purpose of looking into the matter.
“Et comme un faux gentilhomme est exclu de l’armorial,” added the preacher, a little irrelevantly, “ainsi ces faux martyrs furent bannis du martyrologe.”
Irene listened with interest, but wondered a little how this scientific, historical, slightly satirical lecture could touch or help the souls of the listeners. In half an hour it was over, and Irene rose to go, when suddenly the altar was brightly illuminated, the organ began to play, and from the gallery floated the dulcet tones of the beautiful angel-voiced choir. Irene had never heard such passionate romantic singing, except at[121] the opera. It awakened no religious inspiration in her; on the contrary, closing her eyes in complete enjoyment, caressed by the softness of those delicious waves of sound, she saw before her her once-idolized singer Battestini, in the title r?le of Rubinstein’s “Demon.” The unhappy “exiled spirit” was wandering in the desert, solitary, forsaken, heartbroken, hopelessly in love!
“All the sorrow, all the suffering of life,” he sobbed passionately from the gallery, “is caused by solitude. Live together in couples! Love, caress, and comfort one another! And above all things, lose no time! Enjoy the delights of love, while you can!”
The sound of dull, stifled sobbing fell on Irene’s ear. It emanated from a grey-haired old man beside her, who had fallen on his knees and buried his face in his hands.
“He weeps because it is too late for him to love,” concluded Irene, as she glanced pityingly at the bent figure of the old man.
The service ended; the great doors opened, and the warm, golden, Roman evening rushed into the church. Irene turned[122] her steps homewards, enjoying the blue sky, and the gay good-natured Sunday crowd that filled the streets. Somewhere in the distance a military band was playing, the air was full of laughter and merriment. Pretty children, in their best frocks, and with little bare legs, were frolicking about to the evident delight of their parents, who watched them with tender caressing smiles.
“How glorious, how beautiful life is!” thought Irene, still under the impression of the singing. But having traversed two streets and turned into the Piazza Venezia, she suddenly stopped short, horror-struck.
“But they did not sing about earthly love at all!” she exclaimed to herself in complete confusion. “How could such thoughts ever be awakened by their prayers? How did it happen? How came I to fall into such an error?”
Irene was both amazed and ashamed, and decided to say nothing to Père Etienne about her impressions of the service. This, however, was not as easy as it seemed. The wily priest cross-examined her severely, and[123] of course, Irene ended by admitting everything. Père Etienne frowned. He knew all about this tragic “Demon,” singing so passionately in the desert—he had met him twice in the corridor, on the way to Irene’s room!
“You are far too impressionable,” he observed severely, “and music evidently irritates your nerves. You will do better to attend the lectures of Monsignor Berra, in the convent of the Ursulines.”
Irene agreed, and, on the appointed day, knocked at the small door of the convent in the Via Flavia. The siste............