He laid the roll of papers open on the table, and then retired with great humility to the window. The doctor looked over them with some curiosity.
The statement or confession began by boldly avowing the writer's conviction that part of the property which the Count Fabio d'Ascoli had inherited from his ancestors had been obtained by fraud and misrepresentatio n from the Church. The various authorities on which this assertion was based were then produced in due order; along with some curious particles of evidence culled from old manuscripts, which it must have cost much trouble to collect and decipher.
The second section was devoted, at great length, to the reasons which induced the writer to think it his absolute duty, as an affectionate son and faithful servant of the Church, not to rest until he had restored to the successors of the apostles in his day the property which had been fraudulently taken from them in days gone by. The writer held himself justified, in the last resort, and in that only, in using any means for effecting this restoration, except such as might involve him in mortal sin.
The third section described the priest's share in promoting the marriage of Maddalena Lomi with Fabio; and the hopes he entertained of securing the restitution of the Church property through his influence over his niece, in the first place, and, when she had died, through his influence over her child, in the second. The necessary failure of all his projects, if Fabio married again, was next glanced at; and the time at which the first suspicion of the possible occurrence of this catastrophe occurred to his mind was noted with scrupulous accuracy.
The fourth section narrated the manner in which the conspiracy of the Yellow Mask had originated. The writer described himself as being in his brother's studio on the night of his niece's death, harassed by forebodings of the likelihood of Fabio's marrying again, and filled with the resolution to prevent any such disastrous second union at all hazards. He asserted that the idea of taking the wax mask from his brother's statue flashed upon him on a sudden, and that he knew of nothing to lead to it, except, perhaps, that he had been thinking just before of the superstitious nature of the young man's character, as he had himself observed it in the studio. He further declared that the idea of the wax mask terrified him at first; that he strove against it as against a temptation of the devil; that, from fear of yielding to this temptation, he abstained even from entering the studio during his brother's absence at Naples, and that he first faltered in his good resolution when Fabio returned to Pisa, and when it was rumored, not only that the young nobleman was going to the ball, but that he would certainly marry for the second time.
The fifth section related that the writer, upon this, yielded to temptation rather than forego the cherished purpose of his life by allowing Fabio a chance of marrying again--that he made the wax mask in a plaster mold taken from the face of his brother's statue--and that he then had two separate interviews with a woman named Brigida (of whom he had some previous knowledge ), who was ready and anxious, from motives of private malice, to personate the deceased countess at the masquerade. This woman had suggested that some anonymous letters to Fabio would pave the way in his mind for the approaching impersonation, and had written the letters herself. However, even when all the preparations were made, the writer declared that he shrank from proceeding to extremities; and that he would have abandoned the whole project but for the woman Brigida informing him one day that a work-girl named Nanina was to be one of the attendants at the ball. He knew the count to have been in love with this girl, even to the point of wishing to marry her; he suspected that her engagement to wait at the ball was preconcerted; and, in consequence, he authorized his female accomplice to perform her part in the conspiracy.
The sixth section detailed the proceedings at the masquerade, and contained the writer's confession that, on the night before it, he had written to the count proposing the reconciliation of a difference that had taken place between them, solely for the purpose of guarding himself against suspicion. He next acknowledged that he had borrowed the key of the Campo Santo gate, keeping the authority to whom it was intrusted in perfect ignorance of the purpose for which he wanted it. That purpose was to carry out the ghastly delusion of the wax mask (in the very probable event of the wearer being followed and inquired after) by having the woman Brigida taken up and set down at the gate of the cemetery in which Fabio's wife had been buried.
The seventh section solemnly averred that the sole object of the conspiracy was to prevent the young nobleman from marrying again, by working on his superstitious fears; the writer repeating, after this avowal, that any such second marriage would necessarily destroy his project for promoting the ultimate restoration of the Church possessions, by diverting Count Fabio's property, in great part, from his first wife's child, over whom the priest would always have influence, to another wife and probably other children, over whom he could hope to have none.