No life now wanders like an unfettered stream; there is a mill-wheel for the tiniest rivulet to turn. We go all wrong, by too strenuous a resolution to go all right.

Therefore it was—so, at least, the sculptor thought, although partly suspicious of Donatello's darker misfortune—that the young Count found it impossible nowadays to be what his forefathers had been. He could not live their healthy life of animal spirits, in their sympathy with nature, and brotherhood with all that breathed around them. Nature, in beast, fowl, and tree, and earth, flood, and sky, is what it was of old; but sin, care, and self-consciousness have set the human portion of the world askew; and thus the simplest character is ever the soonest to go astray.

"At any rate, Tomaso," said Kenyon, doing his best to comfort the old man, "let us hope that your young lord will still enjoy himself at vintage time. By the aspect of the vineyard, I judge that this will be a famous year for the golden wine of Monte Beni. As long as your grapes produce that admirable liquor, sad as you think the world, neither the Count nor his guests will quite forget to smile."

"Ah, Signore," rejoined the butler with a sigh, "but he scarcely wets his lips with the sunny juice."

"There is yet another hope," observed Kenyon; "the young Count may fall in love, and bring home a fair and laughing wife to chase the gloom out of yonder old frescoed saloon. Do you think he could do a better thing, my good Tomaso?"

"Maybe not, Signore," said the sage butler, looking earnestly at him; "and, maybe, not a worse!"

The sculptor fancied that the good old man had it partly in his mind to make some remark, or communicate some fact, which, on second thoughts, he resolved to keep concealed in his own breast. He now took his departure cellarward, shaking his white head and muttering to himself, and did not reappear till dinner-time, when he favored Kenyon, whom he had taken far into his good graces, with a choicer flask of Sunshine than had yet blessed his palate.

To say the truth, this golden wine was no unnecessary ingredient towards making the life of Monte Beni palatable. It seemed a pity that Donatello did not drink a little more of it, and go jollily to bed at least, even if he should awake with an accession of darker melancholy the next morning.

Nevertheless, there was no lack of outward means for leading an agreeable life in the old villa. Wandering musicians haunted the precincts of Monte Beni, where they seemed to claim a prescriptive right; they made the lawn and shrubbery tuneful with the sound of fiddle, harp, and flute, and now and then with the tangled squeaking of a bagpipe. Improvisatori likewise came and told tales or recited verses to the contadini—among whom Kenyon was often an auditor—after their day's work in the vineyard. Jugglers, too, obtained permission to do feats of magic in the hall, where they set even the sage Tomaso, and Stella, Girolamo, and the peasant girls from the farmhouse, all of a broad grin, between merriment and wonder. These good people got food and lodging for their pleasant pains, and some of the small wine of Tuscany, and a reasonable handful of the Grand Duke's copper coin, to keep up the hospitable renown of Monte Beni. But very seldom had they the young Count as a listener or a spectator.

There were sometimes dances by moonlight on the lawn, but never since he came from Rome did Donatello's presence deepen the blushes of the pretty contadinas, or his footstep weary out the most agile partner or competitor, as once it was sure to do.

Paupers—for this kind of vermin infested the house of Monte Beni worse than any other spot in beggar-haunted Italy—stood beneath all the windows, making loud supplication, or even establishing themselves on the marble steps of the grand entrance. They ate and drank, and filled their bags, and pocketed the little money that was given them, and went forth on their devious ways, showering blessings innumerable on the mansion and its lord, and on the souls of his deceased forefathers, who had always been just such simpletons as to be compassionate to beggary. But, in spite of their favorable prayers, by which Italian philanthropists set great store, a cloud seemed to hang over these once Arcadian precincts, and to be darkest around the summit of the tower where Donatello was wont to sit and brood.





CHAPTER XXVII

MYTHS

After the sculptor's arrival, however, the young Count sometimes came down from his forlorn elevation, and rambled with him among the neighboring woods and hills. He led his friend to many enchanting nooks, with which he himself had been familiar in his childhood. But of late, as he remarked to Kenyon, a sort of strangeness had overgrown them, like clusters of dark shrubbery, so that he hardly recognized the places which he had known and loved so well.

To the sculptor's eye, nevertheless, they were still rich with beauty. They were picturesque in that sweetly impressive way where wildness, in a long lapse of years, has crept over scenes that have been once adorned with the careful art and toil of man; and when man could do no more for them, time and nature came, and wrought hand in hand to bring them to a soft and venerable perfection. There grew the fig-tree that had run wild and taken to wife the vine, which likewise had gone rampant out of all human control; so that the two wild things had tangled and knotted themselves into a wild marriage bond, and hung their various progeny—the luscious figs, the grapes, oozy with the Southern juice, and both endowed with a wild flavor that added the final charm—on the same bough together.

In Kenyon's opinion, never was any other nook so lovely as a certain little dell which he and Donatello visited. It was hollowed in among the hills, and open to a glimpse of the broad, fertile valley. A fountain had its birth here, and fell into a marble basin, which was all covered with moss and shaggy with water-weeds. Over the gush of the small stream, with an urn in her arms, stood a marble nymph, whose nakedness the moss had kindly clothed as with a garment; and the long trails and tresses of the maidenhair had done what they could in the poor thing's behalf, by hanging themselves about her waist, In former days—it might be a remote antiquity—this lady of the fountain had first received the infant tide into her urn and poured it thence into the marble basin. But now the sculptured urn had a great crack from top to bottom; and the discontented nymph was compelled to see the basin fill itself through a channel which she could not control, although with water long ago consecrated to her.

For this reason, or some other, she looked terribly forlorn; and you might have fancied that the whole fountain was but the overflow of her lonely tears.

"This was a place that I used greatly to delight in," remarked Donatello, sighing. "As a child, and as a boy, I have been very happy here."

"And, as a man, I should ask no fitter place to be happy in," answered Kenyon. "But you, my friend, are of such a social nature, that I should hardly have thought these lonely haunts would take your fancy. It is a place for a poet to dream in, and people it with the beings of his imagination."

"I am no poet, that I know of," said Donatello, "but yet, as I tell you, I have been very happy here, in the company of this fountain and this nymph. It is said that a Faun, my oldest forefather, brought home hither to this very spot a human maiden, whom he loved and wedded. This spring of delicious water was their household well."

"It is a most enchanting fable!" exclaimed Kenyon; "that is, if it be not a fact."

"And why not a fact?" said the simple Donatello. "There is, likewise, another sweet old story connected with this spot. But, now that I remember it, it seems to me more sad than sweet, though formerly the sorrow, in which it closes, did not so much impress me. If I had the gift of tale-telling, this one would be sure to interest you mightily."

"Pray tell it," said Kenyon; "no matter whether well or ill. These wild legends have often the most powerful charm when least artfully told."

So the young Count narrated a myth of one of his Progenitors,—he might have lived a century ago, or a thousand years, or before the Christian epoch, for anything that Donatello knew to the contrary,—who had made acquaintance with a fair creature belonging to this fountain. Whether woman or sprite was a mystery, as was all else about her, except that her life and soul were somehow interfused throughout the gushing water. She was a fresh, cool, dewy thing, sunny and shadowy, full of pleasant little mischiefs, fitful and changeable with the whim of the moment, but yet as constant as her native stream, which kept the same gush and flow forever, while marble crumbled over and around it.