What passed
between them at this interview never was precisely known; but it
was surmised readily enough that some misunderstanding had taken
place, for Father Rocco did not repeat his visit. He made no
complaints of Fabio, but simply stated that he had said
something, intended for the young man's good, which had not been
received in a right spirit; and that he thought it desirable to
avoid the painful chance of any further collision by not
presenting himself at the palace again for some little time.
People were rather amazed at this. They would have been still
more surprised if the subject of the masked ball had not just
then occupied all their attention, and prevented their noticing
it, by another strange event in connection with the priest.
Father Rocco, some weeks after the cessation of his intercourse
with Fabio, returned one morning to his old way of life as a
sculptor, and opened the long-closed doors of his brother's
studio.
Luca Lomi's former workmen, discovering this, applied to him
immediately for employment; but were informed that their services
would not be needed. Visitors called at the studio, but were
always sent away again by the disappointing announcement that
there was nothing new to show them. So the days passed on until
Nanina left her situation and returned to Pisa. This circumstance
was duly reported to Father Rocco by his correspondent at
Florence; but, whether he was too much occupied among the
statues, or whether it was one result of his cautious resolution
never to expose himself unnecessarily to so much as the breath of
detraction, he made no attempt to see Nanina, or even to justify
himself toward her by writing her a letter.
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