revolution and made her helpful. It was doubtful whether Countess
Ammiani would permit her to sing at La Scala; or whether the city could
support an opera in the throes of war. And Vittoria was sending money to
Milan. The stipend paid to her by the impresario, the jewels, the big
bouquets--all flowed into the treasury of the insurrection. Antonio-
Pericles advanced her a large sum on the day when the news of the
Milanese uprising reached Turin: the conditions of the loan had simply
been that she should continue her engagement to sing in Turin. He was
perfectly slavish to her, and might be trusted to advance more. Since
the great night at La Scala, she had been often depressed by a secret
feeling that there was divorce between her love of her country and
devotion to her Art. Now that both passions were in union, both active,
each aiding the fire of the other, she lived a consummate life. She
could not have abandoned her path instantly though Carlo had spoken his
command to her in person. Such were her first spontaneous seasonings,
and Laura Piaveni seconded them; saying, "Money, money! we must be Jews
for money. We women are not allowed to fight, but we can manage to
contribute our lire and soldi; we can forge the sinews of war."

Vittoria wrote respectfully to Countess Ammiani stating why she declined
to leave Turin. The letter was poorly worded. While writing it she had
been taken by a sentiment of guilt and of isolation in presuming to
disobey her lover. "I am glad he will not see it," she remarked to
Laura, who looked rapidly across the lines, and said nothing. Praise of
the king was in the last sentence. Laura's eyes lingered on it half-a-
minute.

"Has he not drawn his sword? He is going to march," said Vittoria.

"Oh, yes," Laura replied coolly; "but you put that to please Countess