Page:Christopher Wren--the wages of virtue.djvu/111

Rh Luigi Rivoli, one of a troupe of acrobats who performed at the Naples Scala, Vésuvie, and Variétés, meditating setting up on his own account as Strong Man, Acrobat, Juggler, Wrestler, Dancer, and Professor of Physical Culture, was, to the humble "tumbler" of the quay, as the be-Knighted Actor-Manager of a West End Theatre to the last joined chorus girl, or walking-lady on his boards. And yet the great Signor Carlo Scopinaro, born Luigi Rivoli, meditating desertion from his troupe and needing an "assistant," deigned to accept the services and whole-souled adoration of the girl who was as much more skilful as she was less powerful than he.

When, in her perfect, ardent, and beautiful love, her reckless and uncounting adoration, she gave herself, mind, body and soul, to her hero and her god, he accepted the little gift "without prejudice"—as the lawyers say. "Without prejudice" to Luigi's future, that is.

During their short engagement at the Scala—terminated by the Troupe's earnest endeavour to assassinate the defaulting and defalcating Luigi, and her family's endeavour to maim Carmelita for setting up on her own account, and deserting her loving "parents"—it was rather the girl whom the public applauded for her wonderful back-somersaults, contortions, hand-walking, Catherine-wheels, trapeze-work, and dancing, than the man for his feats with dumb-bells of doubtful solidity, his stereotyped ball-juggling, his chain-breaking, and weight-lifting, his muscle-slapping and Ha! shouting, his posturing and grimacing, and his issuing of challenges to wrestle any man in the world for any sum he liked to name,