companion were now passing, the canals and quays were deserted, and
not a sound was heard except the distant hum of the multitude
assembled in the quarter of St Mark's. Without exciting suspicion or
attracting observation, they reached the Rialto and the grand canal,
and the gondola stopped at a landing-place opposite the church of San
Moyses.

As the young painter assisted his mysterious charge out of the boat, a
gentle pressure from the warm soft hand which for a moment rested upon
his, quickened every pulse in his frame; and long after the
enigmatical being had disappeared behind the angle of a palace, he
stood gazing, like one entranced, at the spot where he had last seen
her imposing and graceful figure. The approach of Jacopo, still
crossing himself, and calling upon all the saints for protection
against the snares of the evil one, roused the perplexed youth from
his reverie; and, stepping into the gondola, he was soon gliding
rapidly over the canals in the direction of his father's palace.



CHAPTER II.

THE PICTURE.


The gondola of the young painter, gliding rapidly and silently over
the still waters of the canals, was passing a turn leading to the
Giudecca, when it suddenly occurred to Antonio that he would seek his
old master, and, after confessing his disobedience, relate to him the
events of the day, and make him the confidant of his troubles and