第123章 CHAPTER XXXVIII ALTARS AND INCENSE(4)

As the scene which we but faintly suggest shone calmly before the New England maiden at her entrance, she moved, as if by very instinct, to one of the vases of holy water, upborne against a column by two mighty cherubs. Hilda dipped her fingers, and had almost signed the cross upon her breast, but forbore, and trembled, while shaking the water from her finger-tips. She felt as if her mother's spirit, somewhere within the dome, were looking down upon her child, the daughter of Puritan forefathers, and weeping to behold her ensnared by these gaudy superstitions. So she strayed sadly onward, up the nave, and towards the hundred golden lights that swarm before the high altar. Seeing a woman; a priest, and a soldier kneel to kiss the toe of the brazen St.

Peter, who protrudes it beyond his pedestal for the purpose, polished bright with former salutations, while a child stood on tiptoe to do the same, the glory of the church was darkened before Hilda's eyes.

But again she went onward into remoter regions. She turned into the right transept, and thence found her way to a shrine, in the extreme corner of the edifice, which is adorned with a mosaic copy of Guido's beautiful Archangel, treading on the prostrate fiend.

This was one of the few pictures, which, in these dreary days, had not faded nor deteriorated in Hilda's estimation; not that it was better than many in which she no longer took an interest; but the subtile delicacy of the painter's genius was peculiarly adapted to her character. She felt, while gazing at it, that the artist had done a great thing, not merely for the Church of Rome, but for the cause of Good. The moral of the picture, the immortal youth and loveliness of virtue, and its irresistibles might against ugly Evil, appealed as much to Puritans as Catholics.

Suddenly, and as if it were done in a dream, Hilda found herself kneeling before the shrine, under the ever-burning lamp that throws its rays upon the Archangel's face. She laid her forehead on the marble steps before the altar, and sobbed out a prayer; she hardly knew to whom, whether Michael, the Virgin, or the Father; she hardly knew for what, save only a vague longing, that thus the burden of her spirit might be lightened a little.

In an instant she snatched herself up, as it were, from her knees, all a-throb with the emotions which were struggling to force their way out of her heart by the avenue that had so nearly been opened for them.

Yet there was a strange sense of relief won by that momentary, passionate prayer; a strange joy, moreover, whether from what she had done, or for what she had escaped doing, Hilda could not tell. But she felt as one half stifled, who has stolen a breath of air.

Next to the shrine where she had knelt there is another, adorned with a picture by Guercino, representing a maiden's body in the jaws of the sepulchre, and her lover weeping over it; while her beatified spirit looks down upon the scene, in the society of the Saviour and a throng of saints. Hilda wondered if it were not possible, by some miracle of faith, so to rise above her present despondency that she might look down upon what she was, just as Petronilla in the picture looked at her own corpse. A hope, born of hysteric trouble, fluttered in her heart. A presentiment, or what she fancied such, whispered her, that, before she had finished the circuit of the cathedral, relief would come.

The unhappy are continually tantalized by similar delusions of succor near at hand; at least, the despair is very dark that has no such will-o'-the-wisp to glimmer in it.