changed first. You changed towards me the night you first wore that chain-armour. You had some secret from me—it was about that old man—and I saw him again yesterday. Tito,” she went on, in a tone of agonised entreaty, “if you would once tell me everything, let it be what it may—I would not mind pain—that there might be no wall between us! Is it not possible that we could begin a new life?”
This time there was a flash of emotion across Tito’s face. He stood perfectly still; but the flash seemed to have whitened him. He took no notice of Romola’s appeal, but after a moment’s pause, said quietly—
“Your impetuosity about trifles, Romola, has a freezing influence that would cool the baths of Nero.”
At these cutting words, Romola shrank and drew herself up into her usual self-sustained attitude. Tito went on.
“If by ‘that old man’ you mean the mad Jacopo di Nola who attempted my life and made a strange accusation against me, of which I told you nothing because it would have alarmed you to no purpose, he, poor wretch, has died in prison. I saw his name in the list of dead.”
“I know nothing about his accusation,” said Romola. “But I know he is the man whom I saw with the rope round his neck in the Duomo—the man whose portrait Piero di Cosimo painted, grasping your arm as he saw him grasp it the day the French entered, the day you first wore the armour.”
“And where is he now, pray?” said Tito, still pale, but governing himself.
“He was lying lifeless in the street from starvation,” said Romola. “I revived him with bread and wine. I brought him to our door, but he refused to come in. Then I gave him some money, and he went away