A TALE OF THE MISSIONS.

Auckland Star, Volume XXIV, Issue 4310, 15 March 1884, Page 6 (Supplement)

A TALE OF THE MISSIONS.

Asjtonio .Tomelli was the best artisan of his profession in Naples. He was a worker in bronze, a department of the arts for which the Italians havo been long celebrated. Antonio's skill had gained him reputation and abundant employment, and from his workshop had issued the greater number of the candelabras and othermetallicornuments to be found in the palaces of Naples. The bronze-worker had grown rich by his occupation, but the usual concomitant of riches, pride, he had eschewed. He still laboured away at his trade, with his own hands, confining his personal attentions chiefly to the finer and more difficult articles which he was required to fabricate, while meu in his employ manufactured in a large and separate workshop the common articles of the trade. _ One evening, as Antonio sat alone in the little apartment where he pursued his labours, he was informed that a lady wished to speak with him. He desired her to be admitted immediately. The visitor was a female of tall and stately form and carriage, with a dark thick veil thrown over her head and face, so as to prevent the bronze-worker from discerning the features beneath. The lady, for such her dress betokened her to be, did not speak until the servant who had admitted her had left the room for some moments.

Turning then her glance from the door to Jomelli, and seating herself in the chair which he had placed for her. she said, in a voice which her hearer thought the most Bweet and mellifluous that had ever fallen upon his ear, but which seemed strangely agitated, considering the commonplace matter which it uttered : " You work in bronze— you can make bronze ornaments of all kinds? Ie it so ?"

"It is, lady," replied the artisan, "and I shall be proud to execute anything of that nature for you." "Yes, yea," said the lady, "I wish a piece of work done. I have a statue of great value—the statue of a conqueror and king —done by the band of a first-rate sculptor. It is perfect in every respect but one :it wants a chaplet of flowers to adorn its templea ; and this is what I wish you to make for it."

"Is the statue of bronze, madame!" was the artist's question. "No,"repliod the lady, "it is white, of pure marble, and you must paint the chaplet of that colour when you have made it." "What form, then, lady, do you choose it to be of ?" said the artist ; " what shape or pattern shall the ornaments have? But, perhaps, I had better see the statue, and measure the dimensions of the head."

"No, no !" exclaimed the visitor hurriedly, "it will not be necessary. I have looked upon it so often that I can tell you perfectly well how large it is. Your own head is very .near it; yes, you cannot go wrong if you fit the chaplet to your own head." "And the fashion of the ornaments, madame?"

"Let it be heavy, very heavy," replied the lady, sinking her voice to a concentrated whisper; "let it be very weighty, that it may not fall off easily ; and make it jagged, and full of spikes inside, that it may adhere to the brows of the statue." "Still, lady, the band should be wrought in some ornamental fashion," said Antanio. " Do that as you please," was tho lady's reply ; " but remember it is to be heavy and full of spikes, and forget not that it is "to be painted white, so as_ to resemble (lowers. And now, when will it be finished!" "Oh, in a few days, madame," said tho

artist. , " A few dayn !" cried the lady vehemently, rising from her chair at the same time ; "it must be ready to-morrow evening, sir! I must have it to-morrow !" "I cannot do justice to the chaplet, lady," said the bronzo-worker, astonished at her violence of tone ; "the ornamental part " " I care not for any ornaments," was the hasty reply ; " make it as I have directed ; and to-morrow I must have it, because— because I am to have a party, and I wish the statue to be then ornamented." " Well, madame," said the artist resignedly, " I shall do my endeavour. And ■whither shall I have the honour of sending it!" S " I shall call for it myself at this hour tomorrow, and shall pay what you will for it. Remember what I have said, heavy and set ■with spikes." With these words the lady departed, leaving on Jomelli's mind the impression that, fanciful as many of his former employers had been, this new one was the most flighty of all. On the evening following that on which this singular order was given to the artist JomelU, #11 the grandees and fashionables of Maples, and not a small part of the populace, were on the move towards the splendid theatre of San Carlos. A piece of great interest was to be performed, and the prima donna, who was young and beautiful, was the exquisite vocalist Signora Marina. The lady had but lately been appointed to take the part of chief singer, and had therefore superseded one who had formerly been her ack no wledged superior—Madame Oambrici. Considering tho comparative humiliation which Madame Gambrici had endured in

the eyes of the Neapolitans, it was not to be supposed that she would on the present occasion make her appearance in the house. But few knew the real character of their

former favourite. To the astonishment, and

wo should add the delight, of tho audience, Gambrici attended, as if for the purpose of -acknowledging the merits and gracing the "triumph of the inimitable Marina. She appeared in one of the most conspicuous parts of the theatre—the front corner of the upper box overhanging the stage. Before the opera commenced, the audience called out the name of their former favourite, Oambrici, and cheered her for her seeming freedom from jealousy in being present on such an occasion. The object of their attention, however, appeared to be abashed by the plaudits sho lmd raised, and moved not a muscle in reply, but, half covered by her veil, sat with her eyes fixed on tho stage. The piece at length commenced, the young prima donna appeared, and the cheers were Io»g and loud. Marina had not been overpraised, either as regarded.her person or performance. Every step which sho took across the stage elicted admiration, for her movements wero like those of a sylph ; every note that she uttered drew forth applause, for her voice was sweet and strong as Philomel's. In every song of tho piece she was successful, but attention and expectation were chiefly riveted upon one song, onco Gambrici'e masterpiece. Marina at length reached this part of the opera ; she was then alone upon the stage. She sang the first verse, and tho audience wero in raptures. She eang the second, and crowns of flowers wero scattered upon the stage, while even Gambrici was seen to applaud. She sang the third and last verse, and in doing so, chanced to stand immediately below Garnbrici's box. To the delight of.the spectators, Gambrici rose at that moment with a large crown of flowers, and, waving it in the air, threw it down on the young Marina's head. The crown bounded from the singer's brow nnd rolled along the stage, whilo Marina herself fell prostrate on the boards. She gave one scream, and never spoke or moved again. The flower-covered crown or ehaplet was theheavy bronze one made by Jotnolli, and one of thfi'jßjoikes hnd entered the victim's brain.

It would be impossible to describe the confusion, the hcrror, the execration? that ensued. Gambrici having gratified her malignant revengo, seemed contented that she should pay for it with her life. She had slain her rival, the unfortunate Marina, and was satisfied. Dreadful must those passions have been, which could prompt the execution of so unhallowed a deed. Looking round her with calm and reckless indifference, shedid notmaketheslightestattemptto escape, and was forthwith seized and brought to justice. Antonio Jomelli was confronted with her for form's sake, and avowed having made for her the fatal wreath. It has only to be added that she did not die on the scaffold, but put an end to her existence by poison in the prison where she was confined.