methods employed in their execution—­under these combined circumstances it was to be expected that the artist’s real feelings would find expression at the work-bench rather than in the society of his wife and daughter.  Seated by Marzio’s side, and learning from him all that could be learned, Gianbattista had acquired at the same time a thorough knowledge of his instincts and emotions, which neither Maria Luisa nor Lucia was able to comprehend.

Marzio was tenacious of his ideas and of his schemes.  Deficient in power of initiative and in physical courage, he was obstinate beyond all belief in his adherence to his theories.  That he should suddenly yield to a devotional impulse, fall upon his knees before a crucifix and cry mea culpa over his whole past life, was altogether out of the question.  In Gianbattista’s opinion it was almost as impossible that he should abandon in a moment the plan which he had announced with so much resolution on the previous evening.  It was certain that before declaring his determination to marry his daughter to the lawyer he must have ruminated and planned during many days, as it was his habit to do in all the matters of his life, without consulting any one, or giving the slightest hint of his intention.  Some part of his remarkable talent depended upon this faculty of thoroughly considering a resolution before proceeding to carry it out; and it is a part of every really great talent in every branch of creative art, for it is the result of a great continuity in the action of the mind combined with the power of concentration and the virtue of reticence.  Many a work has appeared to the world to be the spontaneous creation of transcendent genius, which has, in reality, been conceived, studied, and elaborated during years of silence.  Reticence, concentration, and continuity, are characteristics which cannot influence one part of a man’s life without influencing the rest as well.  The habit of studying before proceeding is co-existent with the necessity of considering before acting; and a man who is reticent concerning one half of his thoughts is not communicative about the other half.  Nature does not do things by halves, and the nerves which animate the gesture at the table are the same which guide the chisel at the work-bench.

Gianbattista understood Marzio’s character, and in his mind tried to construct the future out of the present.  He endeavoured to follow out what he supposed to be the chiseller’s train of thought to its inevitable conclusion, and the more he reflected on the situation the more certain he became that Lucia’s hypothesis was untenable.  It was not conceivable, under any circumstances whatever, that Marzio should suddenly turn into a gentle, forgiving creature, anxious only for the welfare of others, and willing to sacrifice his own inclinations and schemes to that laudable end.