Beyond These Voices. M. E. Braddon

of cypresses that marked the end of the enclosure, a spot where the ground rose considerably above the level of the larger space. Upon this higher level the massive marble tomb—so severely simple, so dazzling in its whiteness—dominated the lower plane, where memorial devices of every shape and form, Gothic cross, and broken column, winged angel, inverted torch, and Grecian urn, seemed poor and trivial by comparison.

      It was a massive, oblong tomb without device or symbol, and only an artist would have been conscious of the delicate workmanship with which every member of the unobtrusive mouldings had been executed. There was no elaborate ornament, only a Doric simplicity, and the perfection of finely finished work.

      The same simplicity marked the brief inscription on the level slab.

      "Giulia, the only child of Mario Provana." This—with the date of birth and death—-was all. No record of parental love, nothing for the world to know, except that a father's one ewe lamb had lived and died.

      A yew hedge, breast high, made a quadrangular enclosure which isolated Giulia's resting-place—a cemetery within a cemetery—and, at the end facing Genoa and the morning sun, there was a broad marble bench, and here Vera sat for nearly an hour, reading her father's poem, the work of his last year, written after the hand of death had touched him.

      It was an hour of pensive thought, and as she pondered over pages where every line was familiar, it seemed to her that Giulia's spirit could not be remote from the friend whose sudden tears fell on the page, where some deeper melancholy in the verse brought last year's sorrow back with the force of a new grief.

      The sun was low when she left the cemetery, and the shiver that comes with sundown chilled her as she hurried back to the hotel, more than five minutes late for Grannie's tea. But the following afternoon, and the day after that, she went back to the Roman bench, and sat there till sunset, with the green cloth volume that had grown shabby with much use, and her memory of Giulia, for her only companions. After this she went there every afternoon, sometimes with "Afterwards," sometimes with a volume of Byron or Shelley. The sense of dullness and monotony that had depressed her in her walk up and down the parade under the palm trees seldom came upon her in this silent enclosure, where the yew hedge—that only wealth could have attained in so brief a time—screened her from observation. She sometimes heard the voices of tourists admiring the monuments, or reading the epitaphs, in the cemetery; but it was rarely that anyone looked in at the opening in the green quadrangle where she sat.

      It was more than a fortnight after her first visit to this mournful solitude when for the first time Vera was startled by the sound of approaching footsteps, and looking up she saw the tall form of Mario Provana, standing in the golden sunset. She rose as he came towards her, and gave him her hand, a hand so slender that it seemed to disappear in the broad palm and strong fingers that clasped it.

      "I was told that you were in San Marco," he said; "but I never thought I should find you here. Then you have not forgotten?"

      "I shall never forget. I come here every afternoon with my father's book—the poem he wrote when he knew that he was dying."

      "May I sit by your side for a few minutes? I should like to see your father's book. I have not forgotten that he was a poet. Since you told me that, it has seemed as if I ought to have known beforehand. You look like a poet's child. I suppose everybody who saw Miranda for the first time, without having seen Prospero, ought to have known that her father was a magician."

      His tone was grave and thoughtful, and his speech hardly sounded like a compliment. There was no air of gallantry to alarm her.

      He took the shabby little volume from her hand, and turned the pages slowly, pausing to read a few lines, here and there.

      "'Part the first, Thanatos, Part the second, Eros.' From darkness to light," he said, in the deep, grave voice which was her most distinctive impression of Mario Provana. "He believed in the victory of spirit over flesh. He was a poet; and faith is easy where the imagination is strong. Tennyson knew that all religion, all peace of mind, hung upon that one vital question—the Afterwards—the other world that is to give us back lost love, lost youth, lost genius, lost joy. I am not a religious man, Vera; indeed, to the Church of Rome I count as an infidel, because I cannot subject my mind to the outward forms and conventions which seem to me no more than the dry husks of spiritual things. But I am more of a Pantheist than an infidel—my gospel is the gospel of Christ—my faith is the faith of Spinoza."

      And then, after a silence, he said:

      "I called you Vera just now. Do you mind? My daughter loved you as if you had been her sister. May I call you by your pretty Christian name?"

      "Pray do. I'm sure Grannie won't mind," Vera answered naïvely.

      "We will ask Grannie's permission," he said, with a grave smile. "If you will allow me to walk back to the 'Anglais' with you, I will call on Lady Felicia this afternoon, and we can get that small matter settled."

      He talked to her as if she had been a child; and the difference between his forty years and her seventeen made the fatherly tone seem natural.

      He walked slowly round the tomb, lingering beside it now and then, and leaning his hand on the marble slab while he stood with bent head looking at the inscription, in a pause that seemed long; and then he rejoined Vera, and they left the cemetery together.

      "You are not out yet, I think," he said, when they had walked a little way. "I read a paragraph in a London paper to the effect that Lady Felicia Cunningham's granddaughter, Miss Veronica Davis, the daughter of the poet whose early death had been a loss to literature, was to be presented next season."

      "It is so foolish of them to write like that, as if I were a person of importance; when Grannie is so poor that it will be cruel to let her spend a quarter's income upon a Court dress and party frocks—and I don't care a scrap about parties or the Court."

      "What a singular young lady you must be. I doubt if I could find your parallel in London or Rome. If you don't care for society, what are the things that make your idea of happiness?"

      "Beautiful places, and the sea, books and music, and Shakespeare's plays," she answered quite simply. "I saw Henry Irving in 'Hamlet,' when I was twelve years old. It was my birthday, and my kindest aunt took me to her box at the Lyceum. I have never forgotten that night."

      "You admired the actor?"

      "I admired Hamlet. I never remembered that he was an actor," she answered, while her eyes brightened, and her cheek flushed with enthusiasm. "But when someone told me suddenly that Sir Henry Irving was dead, I felt as if one great joy had gone out of the world. I saw Browning once—at an afternoon party at my aunt's; and she took me to him as he stood among a group of young people, talking and laughing, and told him who my father was; and he was too kind for words, and patted my head, and stooped and asked me to kiss him. I knew nothing about poetry then, not even about my father's, but now when I read Browning, I always recall the noble face and the silvery hair, and I am heart-broken when I think that he is dead, and that I shall never see him again."

      She stopped, blushing at her own audacity, and surprised at finding herself talking as she had never talked to Grannie, but as she had often talked to Provana's daughter.

      Lady Felicia received the unexpected visitor with exceeding graciousness, and showed a friendly interest in Signor Provana's doings. She hoped he was going to spend some time at San Marco.

      "I have a selfish interest in the question," she said, with her urbane smile, "for at present Dr. Wilmot is the only person in the place who has intelligence enough to make conversation possible. This poor child and I come back to the 'Anglais' to find the same obese widow, the same pinched spinsters with wisps of faded hair scraped over their poor heads, too conscientious to put their trust in Lichtenstein. There is one poor creature who would be almost pretty if she knew how to put on her clothes and would treat herself to a wig."

      Lady Felicia prattled gaily, not considering it her duty to put on a mournful air and remind Provana of his bereavement. It was half a year ago—and it was better taste to ignore the melancholy past. Vera busied herself at the tea-table, providing for all Grannie's wants before