Gradually the hurrying footsteps died away in the distance. The shouting ceased on the stairs. It was still as the grave, silent, deserted. The old woman glanced over her shoulder. She was still crouching before the Icon, rocking herself backwards and forwards; the beads of the rosary slipping through her fingers one by one; mumbling to herself.
Suddenly she stopped and listened. The rosary fell to the floor. Her eyes watched the wreckage of the doorway closely, suspiciously, like an animal before a trap. The shadows encircled her, they were here, there, everywhere; but none moved, none crept.
Snatching a slip of paper from her bosom, she bent over it, her eyes dilated, her mouth twisted with agony. In the centre of the paper, clearly graven against the white, was a Black Cross.
She moaned aloud, wringing her hands. Her teeth gnawed her lips. She clung to the foot of the Icon, sobbing, struggling with herself, glancing around fearfully into the shadows. A gleam from the candle fell on her hood; it had slipped slightly and a strand of her hair hung from under the cowl. It sparkled like gold.
She staggered to her feet, still sobbing and trembling, catching her breath. Then she went to the nail on the wall and took down the cloak. The woman stood alone in the midst of the shadows; they were heavy, motionless. Glancing to right and left, behind her, to the wreckage of the door, to the furthermost corner, back to the Icon again, her eyes roved, darting from side to side like a creature hunted. Clasping the cloak to her quivering bosom she approached the candle slowly, stealthily. Her steps faltered. She hesitated. She stooped forward--another glance over her shoulder, and blowing with feeble breath, the spark went out.
Velasco sat in his Studio before the great tiled fire-place, dreaming, with his violin across his knees. His servant had gone to bed and he was alone.
The coals burned brightly, and the lamp cast a golden, radiant light on the rug at his feet, rich-hued and jewel tinted as the stained rose windows of Notre Dame. Tapestries hung from the walls, a painting here and there, a few engravings. In the centre stood an Erard, a magnificent concert-grand, open, with music strewn on its polished lid in a confusion of sheets; some piled, some fluttering loose, still others flung to the floor where a chance breeze, or a careless hand, may have scattered them. Near it was the exquisite bronze figure of a young satyr playing the flute, the childish arms and limbs, round and molded, glowing rosy and warm in the lamp light. In one corner was a violin stand, a bow tossed heedlessly across it; and all about were boxes, half packed and disordered. The curtains were drawn. The malachite clock on the mantel-piece was striking two.