A TALE OF THE MISSIONS.

Te Aroha News, Volume I, Issue 42, 22 March 1884, Page 3

A TALE OF THE MISSIONS.

Antonio Jomklli was the best artisan of his profession in Naples. He was a worker in bronze, a department of the arts for which the Italians have 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 oilier metallic ornaments 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 men in his employ manufactured in a large and separate workshop the common articles of the trade. One evening, as Antonio pat alone in the little apartment whei'e he pursued his labours, ho 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 ho had placed for her, she said, in a voice which her hearer thought the most sweet 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 ornamonts of all kinds? Is it so ?" "It is, lady," replied the- artisan, "and I shall be proud to execute anything of that nature for you." "Yes, yes," said the lady, "I wish a piece of work done. I havo a statue of great value— the statue of a conqueror and king — done by the hand of a first-rate sculptor. It is perfect in every respect but one : it wants a chaplct of flowers to adorn its templo.s ; and this is what I wit>h you to make for it." " Is the statue of bronze, madamc ?" was the artist's question. " No," replied 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 chooso it to bo of?" said the artist ; "what shape or pattern shall the ornaments have? But, perhaps, 1 had better sco 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 toll you perfectly w ell how largo it is. Your o\\ n head is very near it ; yes, you cannot go wrong if you fit' the ckiplet to your own head." "And the fashion of the ornaments, madamc?" " 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 tall oil' easily ; and make it jagged, and full of spikes iiihidc, that it may adhere to the brows of the statue." "Still, lady, tho band should be wrought in some ornamental fashion," said Antonio. '• Do that as you please," was tho lady's reply ; " but remembor it is to be heavy and full of spikes, and forget not that it is to be painted white, so as to resemble flowers. And now, when will it be finished ?" " Oh, in a few days, madamc," said the artist. " A few day,'s !" cried the lady vehemently, rising from her chair at the same time ; "it must be ready to-morrow evening, sir ! I mu>l have it to-morrow !" "I cannot do justice to the chaplet, lady,'' said the bronze-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 thither shall I have the honour of sending it ?" " 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." 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 tho artist Jomelli, all the grandees and fashionables of Naples, 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 lial formerly been her acknowledged superior — Madame Gambrici. Considering the comparative humiliation which Madame Gambrici had endured in the eyes of the Neapolitans, it was not to be supposed that she Mould on the present occasion make her appearance in the house. But few knew tho real character of their former favourite. To the astonishment, and we should add the delight, of the 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 tho 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, Gambrici, 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 she had raised, and moved not a muscle in reply, but, half covered by her veil, sat with her eyes fixed on the stage. \ The piece at length commenced, the young prima donna appeared, and the cheers were long and loud. Marina had not been overpraised, either as regarded her person or performance. Every step which she took across the stage elicted admiration, for her movements were 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 the piece she was successful, but attention and expectation were chiefly riveted upon one song, once Gambrici's masterpiece. Marina at length reached this part of the opera ; she was then alone upon the stage. She sang the first verse, and the audience w ere in raptures. She sang the second, and crowns of flowers were 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 Gambrici's box. To the delight ofjthe 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 prown bounded from the singer's brow and rolled along the stage, while Marina herself pllprostrate on the boards. She gave one •jream, and never spoke or moved again. flower-covered crown or chaplet was he&vy bronze one made by Jomelli, and the spikes had entered the victim's

It would be impossible to describe the confusion, the horror, the execrations that ensued. Gambrioi having gratified her malignant revenge, seomeel contented that she should pay for it witli 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 s^ unhallowed a deed. Looking round her with calm and reckless indifference, she did not make th c slightest attempt to 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.