hardly more than a stone's throw from the furthest advanced sentinels of the wood. The road coming out from the city by the Porta Nuova, on its way to the little town of Cervia, a few miles to the southward, traverses ground once thickly covered with palaces, streets, and churches, now open fields,--and passes by the western front and doorway of the almost deserted old Basilica, a little before it reaches the turning off towards the left, which enters the forest.

The walk before Paolina, when she had passed the city gate, was about two miles or rather more. So that had La Bianca taken a few less minutes to put the finishing touches to the charming morning toilette which replaced the gorgeous Venetian costume she had taken off, the bagarino which carried her and Ludovico would infallibly have overtaken the young artist. As it was, however, having more than half-an-hour's start of it, she reached the church before they came within sight of it.

Little Paolina had felt rather nervous when first stepping into the cool fresh morning air from the door of the lodging she occupied. But the street was utterly empty, and she took courage. The first human beings she saw on her way were the octroi officers at the gate. They sat apparently half asleep at the doorway of their den, by the side of the city gate, wrapped in huge cloaks; and took not even so much heed of her as to say "Good morning."

The long bit of straight flat road outside the gate was equally deserted; and Paolina, braced by the morning air, stepped out vigorously, and began to enjoy her walk.

There is little enough, however, in the country through which she was passing to delight the eye. The fields in the immediate neighbourhood of the city are cultivated, and not devoid of trees. But the cheerfulness thence arising does not last long. Very soon the trees cease, and there are no more hedge-rows. Large flat fields, imperfectly covered with coarse rank grass, and divided by the numerous branches of streams, all more or less diked to save the land from complete inundation, succeed. The road is a causeway raised above the level of the surrounding district; and presently a huge lofty bank is seen traversing the desolate scene for miles, and stretching away towards the shore of the neighbouring Adriatic. This is the dike which contains the sulkily torpid but yet dangerous Montone.

Gradually, as the traveller proceeds, the scene grows worse and worse. Soon the only kind of cultivation to be seen from the road consists of rice-grounds, looking like--what in truth they are-- poisonous swamps. Then come swamps pure and simple, too bad even to be turned into rice grounds,--or rather simply swamps impure; for a stench at most times of the year comes from them, like a warning of their pestilential nature, and their unfitness for the sojourn of man. A few shaggy, wild-looking cattle may be seen wandering over the flat waste, muddy to the shoulders from wading in the soft swamps. A scene of more utter desolation it is hardly possible to meet with in such close neighbourhood to a living city.

Paolina shivered, and drew her little grey cloak more closely around her shoulders; not from cold, though a bleak wind was blowing across the marshes. She was warmed by walking; but the aspect of the scene before her almost frightened the Venetian girl by the savagery of its desolation.

The raised causeway, however, keeps on its course amid the low-lying marshes on either side of it; and presently the peculiar form of outline belonging to a forest composed entirely of the maritime pine is distinguishable on the horizon to the left. The road quickly draws nearer to it; and the large, heavy, velvet-like masses of dark verdure become visible. In a forest such as the famous Pineta, consisting of the maritime pine only, the lines, especially when seen at a distance, have more of horizontal and less of perpendicular direction than in any other assemblage of trees. And the effect produced by the continuity of spreading umbrella-like tops is peculiar.

Then, soon after the forest has become visible, the road brings the wayfarer within sight of a vast lonely structure heaving its huge long back against the low horizon, like some monster antidiluvian saurian, the fit denizen of this marsh world. It is the venerable Basilica of St. Apollinare in Classe.

Through all this dismal scene Paolina tripped lightly along with a quick step through the crisp morning air, no little awed by the dreary, voiceless desolation of it, but yet encouraged and not unpleased by the solitude of it.

The walk she found to be quite within her powers, at all events at that hour of the morning and in that season of the year; and when she stood before the western door of the ancient church, in front of which the road passes, Ludovico and Bianca were only then on the point of starting from the quarters of the latter, in the Strada di Porta Sisi.

Though knowing but little of the long and strangely diversified story which presses on the mind of a stranger read in history as he stands before the door of that desolate old church, Paolina could not but be much struck by the appearance of the building and of the scene around it. If ever a spot was expressive in every way by which a locality can speak to the imagination of the abomination of desolation, the view which spreads before the eye at the huge doorway of the Basilica of St. Apollinare in Classe is so. The general character of the country around it has been described. But the church itself is the most dreary and melancholy feature in the landscape. No desolation resulting solely from the operations of Nature, even in her least kindly mood, can ever suffice to speak to the imagination as the change and decay of the works of man's hand speak. To produce the effect of desolation in its highest degree man must have at some former period been present on the scene, and the remains of his work must be there to show that activity, life, energy, has once existed where it exists no more. Nature is always and everywhere progressive, and no sentiment of sadness belongs to progress. Man's ruined work alone imparts the suggestion--(a delusive one, indeed, but most forcible)--of falling back from the better to the worse.

Wonderfully eloquent after this fashion are the temples of Paestum, far away there to the south beyond Naples, on the flat strip of miserably cultivated soil between the Apennines and the Mediterranean. But they are too far gone in ruin and decay to speak with so living a voice of sadness as does this old Byzantine church. The human element is at Paestum too far away,--too utterly dead and forgotten. In St. Apollinare life still lingers. Life, flickering in its last spark, like the twinkling of a lamp which the next moment will extinguish, is still there. Life more suggestive of death, than any utter absence of life could be.

There are some dilapidated remains of conventual buildings on the southern side of the church, mean, and of a date some thousand years subsequent to that of the Basilica. They are nearly ruinous, but are still--or were till within a few years--inhabited by one Capucin friar, and one lay brother of the order, whose duty it was to mutter a mass, with ague-chattering jaws, at the high altar, and act as guardians of the building.

Small guardianship is needed. The huge ancient doors--made of planks from vine trunks which grew fifteen hundred years ago on the Bosphorus--are never closed; probably because their weight would defy the efforts of the two poor old friars, to whom the keeping of the building is committed, to move them. But a poor and mean low gate of iron rails has been fitted to the colossal marble door- posts, which suffices to prevent the wandering cattle of the waste from straying into the church, but does not prevent the fever-laden mists from the marshes from drifting into the huge nave, and depositing their unwholesome moisture in great trickling drops upon the green-stained walls.

But not even the low iron gateway was closed when Paolina reached the church. It stood partially open. After having stood a minute or two before the building to look round upon the scene, Paolina stepped up to the gate and looked into the church, but could see no human being. Within, as without, all was utter death-like silence. She shivered, and drew her cloak more closely round her, as she stood at the gate; for the healthy blood was running rapidly through her veins after her brisk walk, and the deadly cold damp air from the church struck her with a shudder, which was but the physical complement of the moral impression produced by the aspect of the place.

After a minute, however, wondering at the stillness, half frightened at the utter solitude, and awed by the vast gloomy grandeur of the naked but venerable building, she pushed the gate, and entered.

CHAPTER IV

Father Fabiano

Paolina entered hesitatingly, and starting at the echoes of her footsteps on the flagstones, wet and green, and slimy from the water, which often in every year lies many inches deep on the floor of the church. She advanced towards a small marble altar which stands quite isolated in the middle of the huge nave. And as she neared it she perceived, with a violent start, that there was a living figure kneeling at it. So still, so utterly motionless had this solitary worshipper been, so little visible in the dim light was the hue of the Franciscan's frock that entirely covered him, that Paolina had not imagined that there had been any living creature in the church. She saw, however, in the same instant that she became aware of his presence, that the figure was that of a Capucin friar, and doubted not that he must be the guardian of the church, whom she had been told she would find there.

The little low altar, of an antiquity coeval with that of the church, which stands in the centre of the nave, is the sole exception to the entire and utter emptiness of the place. There are, indeed, ranged along the walls of the side aisles, several ancient marble coffins, curiously carved, and with semi-circular covers, which contain the bodies of the earliest Bishops of the See. But the little altar is the sole object that breaks the continuity of the open floor. The body of St. Apollinare was originally laid beneath it, but was in a subsequent age removed to a more specially honourable position under the high altar at the eastern end of the church. There is still, however, the slab deeply carved with letters of ancient form, which tells how St. Romauld, the founder of the order of Camaldoli, praying by night at that altar, saw in a vision St. Apollinare, who bade him leave the world, and become the founder of an order of hermits.

It was on the same stones that the knees of St. Romauld had pressed,