Tito looked up too, and saw that he had unconsciously advanced to within a few yards of the conjuror, Maestro Vaiano, who for the moment was forsaken by the crowd.
His face was turned away from them, and he was occupied with the apparatus on his altar or table, preparing a new diversion by the time the interest in the dancing should be exhausted. The monkey was imprisoned under the red cloth, out of reach of mischief, and the youngster in the white surplice was holding a sort of dish or salver, from which his master was taking some ingredient.
The altar-like table, with its gorgeous cloth, the row of tapers, the sham episcopal costume, the surpliced attendant, and even the movements of the mitred figure, as he alternately bent his head and then raised something before the lights, were a sufficiently near parody of sacred things to rouse poor little Tessa’s veneration; and there was some additional awe produced by the mystery of their apparition in this spot, for when she had seen an altar in the street before, it had been on Corpus Christi Day, and there had been a procession to account for it.
She crossed herself and looked up at Tito, but then, as if she had had time for reflection, said, “It is because of the Nativita.”
Meanwhile Vaiano had turned round, raising his hands to his mitre with the intention of changing his dress, when his quick eye recognised Tito and Tessa who were both looking at him, their faces being shone upon by the light of his tapers, while his own was in shadow.
“Ha! my children!” he said, instantly, stretching out his hands in a benedictory attitude, “you are come to be married. I commend your penitence—the blessing of Holy Church can never come too late.”
But whilst he was speaking, he had taken in the whole meaning of Tessa’s attitude and expression, and he discerned an opportunity for a new kind of joke which required him to be cautious and solemn.