How can there be any criticism at all in silence? According to his idea when we admire anything very much we ought to go round with long faces and gags on our mouths. That would be entirely ridiculous! And what was that dreadful thing he said to you?”

“I don't quite understand you,” I answered; “I cannot remember his saying anything dreadful.”

“Oh, I have it now,” continued Amy with rapidity; “it was awful! He said you had the FACE OF ONE WHOM THE SOUL CONSUMES. You know that was most horribly mystical! And when he said it he looked—ghastly! What did he mean by it, I wonder?”

I made no answer; but I thought I knew. I changed the conversation as soon as possible, and my volatile American friend was soon absorbed in a discussion on dress and jewellery. That night was a blessed one for me; I was free from all suffering, and slept as calmly as a child, while in my dreams the face of Cellini's “Angel of life” smiled at me, and seemed to suggest peace.


CHAPTER II.: THE MYSTERIOUS POTION.

The next day, punctually at noon, according to my promise, I entered the studio. I was alone, for Amy, after some qualms of conscience respecting chaperonage, propriety, and Mrs. Grundy, had yielded to my entreaties and gone for a drive with some friends. In spite of the fears she began to entertain concerning the Mephistophelian character of Raffaello Cellini, there was one thing of which both she and I felt morally certain: namely, that no truer or more honourable gentleman than he ever walked on the earth. Under his protection the loveliest and loneliest woman that ever lived would have been perfectly safe—as safe as though she were shut up, like the princess in the fairy-tale, in a brazen tower, of which only an undiscoverable serpent possessed the key. When I arrived, the rooms were deserted, save for the presence of a magnificent Newfoundland dog, who, as I entered, rose, and shaking his shaggy body, sat down before me and offered me his huge paw, wagging his tail in the most friendly manner all the while, I at once responded to his cordial greeting, and as I stroked his noble head, I wondered where the animal had come from; for though—we had visited Signor Cellini's studio every day, there had been no sign or mention of this stately, brown-eyed, four-footed companion. I seated myself, and the dog immediately lay down at my feet, every now and then looking up at me with an affectionate glance and a renewed wagging of his tail. Glancing round the well-known room, I noticed that the picture I admired so much was veiled by a curtain of Oriental stuff, in which were embroidered threads of gold mingled with silks of various brilliant hues. On the working easel was a large square canvas, already prepared, as I supposed, for my features to be traced thereon. It was an exceedingly warm morning, and though the windows as well as the glass doors of the conservatory were wide open, I found the air of the studio very oppressive. I perceived on the table a finely-wrought decanter of Venetian glass, in which clear water sparkled temptingly. Rising from my chair, I took an antique silver goblet from the mantelpiece, filled it with the cool fluid, and was about to drink, when the cup was suddenly snatched from my hands, and the voice of Cellini, changed from its usual softness to a tone both imperious and commanding, startled me.

“Do not drink that,” he said; “you must not! You dare not! I forbid you!”

I looked up at him in mute astonishment. His face was very pale, and his large dark eyes shone with suppressed excitement. Slowly my self-possession returned to me, and I said calmly:

“YOU forbid me, signor? Surely you forget yourself. What harm have I done in helping myself to a simple glass of water in your studio? You are not usually so inhospitable.”

While I spoke his manner changed, the colour returned to his face, and his eyes softened—he smiled.

“Forgive me, mademoiselle, for my brusquerie. It is true I forgot myself for a moment. But you were in danger, and——”

“In danger!” I exclaimed incredulously.

“Yes, mademoiselle. This,” and he held up the Venetian decanter to the light, “is not water simply. If you will observe it now with the sunshine beating full against it, I think you will perceive peculiarities in it that will assure you of my veracity.”

I looked as he bade me, and saw, to my surprise, that the fluid was never actually still for a second. A sort of internal bubbling seemed to work in its centre, and curious specks and lines of crimson and gold flashed through it from time to time.

“What is it?” I asked; adding with a half-smile, “Are you the possessor of a specimen of the far-famed Aqua Tofana?”

Cellini placed the decanter carefully on a shelf, and I noticed that he chose a particular spot for it, where the rays of the sun could fall perpendicularly upon the vessel containing it. Then turning to me, he replied:

“Aqua Tofana, mademoiselle, is a deadly poison, known to the ancients and also to many learned chemists of our day. It is a clear and colourless liquid, but it is absolutely still—as still as a stagnant pool. What I have just shown you is not poison, but quite the reverse. I will prove this to you at once.” And taking a tiny liqueur glass from a side table, he filled it with the strange fluid and drank it off, carefully replacing the stopper in the decanter.

“But, Signor Cellini,” I urged, “if it is so harmless, why did you forbid my tasting it? Why did you say there was danger for me when I was about to drink it?”

“Because, mademoiselle, for YOU it would be dangerous. Your health is weak, your nerves unstrung. That elixir is a powerful vivifying tonic, acting with great rapidity on the entire system, and rushing through the veins with the swiftness of ELECTRICITY.