Summary

Portrait of Max Pemberton Max Pemberton Signors of the Night — The Risen Dead (1899)

The priest passed through the crowd swiftly, seeming to look neither to the right nor to the left. The brown habit of the Capuchins was his dress, and his cowl was drawn so well over his head that only his eyes were visible—those eyes which stand out so strangely in the many portraits which are still the proud possession of Venice. Though he knew well that an assassin waited for him in the purlieus of the church of San Salvatore, his step was quick and brisk; he walked as a man who goes willingly to a rendezvous, and anticipates its climax with pleasure.
Source: Wikisource

Portrait of Max Pemberton Max Pemberton Signors of the Night — The Risen Dead (1899)

There were four at table, and one was a woman. The priest knew her well. She had been called the most beautiful woman in Venice—Catherine, Countess of Treviso. Still young, with a face which spoke of ambition and of love, her white neck glittered with the jewels it carried, her dress of blue velvet was such a dress as only a noblewoman of Venice could wear. A queenly figure, the friar said, yet one he would so humble presently that never should she hold up her head again.
As for the others, the men who had cloaked conspiracy with a woman's smile, he would know how to deal with them.
Source: Wikisource

Portrait of Max Pemberton Max Pemberton Signors of the Night — The Risen Dead (1899)

Think, excellency, if she is your enemy, she is the enemy also of Venice. What forbids that we arrest her at once? You may not be alive at dawn!"
"In which case," exclaimed the priest satirically, "the Signori of the Night would be well able to answer for the safety of the city. Is it not so, Captain?"
Falier stammered an excuse.
"We have not your eyes, excellency; we cannot work miracles—but at least we can try to protect you from the hand of the assassin. Name this woman to me, and she shall not live when midnight strikes."
Source: Wikisource

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