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Updated: May 17, 2025
Charles was gazing, as if the gates of Paradise had opened before him, toward the chapel doors, whence Maestro Gombert's Benedictio Mensae, a melody entirely new to him, was pouring like a holy benediction, devout yet cheering, sometimes solemn, anon full of joy. The lines of anxiety vanished from his brow as if at the spell of a magician.
What we have to say to each other requires a more fitting time and a different place, and we will find them." Then he stepped back, drew himself up to his full height, waved his hand to her with gracious condescension, and in a loud, imperious tone commanded Appenzelder to begin the Benedictio.
Charles was gazing, as if the gates of Paradise had opened before him, toward the chapel doors, whence Maestro Gombert's Benedictio Mensae, a melody entirely new to him, was pouring like a holy benediction, devout yet cheering, sometimes solemn, anon full of joy. The lines of anxiety vanished from his brow as if at the spell of a magician.
The Benedictio Mensae was again to open the concert. She needed no notes for this familiar music. Yet she looked toward Appenzelder, who had thanked her for her appearance as if she had done him a great favour. Now the orchestra behind her was silent. Now she saw the lackeys and attendants bow profoundly. Now Appenzelder raised his arm.
Maestro Gombert had recently composed a Benedictio Mensae for four voices, and, as it was one of his most effective creations, had never been executed, and therefore would be entirely new to the Emperor, it was specially adapted to introduce the concert with which the monarch was to be surprised at table.
He thought that he had never heard anything more exquisite, and when the Benedictio Mensa: died away he clasped his sister's hand, raised it two or three times to his lips, and thanked her with such affectionate warmth that she blessed the accomplishment of her happy idea, and willingly forgot the unpleasant moments she had just undergone.
Gombert himself dispelled her fear that his composition would be purely secular in character, and Wolf upheld him by singing to the musical princess, to the accompaniment of the lute, snatches of the principal theme of the Benedictio, which had impressed itself upon his faithful memory.
He laid his hand upon the form beneath the blue and silver cloak. "Benedictio Domini sit vobiscum," he said. Then added, in a lower tone: "Be not afraid, neither be thou dismayed. . . . Go in peace." The two men who loved the Prioress, looked steadily at one another. The men-at-arms moved forward with their burden. The Knight smiled as he walked on beside the stretcher.
The Benedictio Mensae was again to open the concert. She needed no notes for this familiar music. Yet she looked toward Appenzelder, who had thanked her for her appearance as if she had done him a great favour. Now the orchestra behind her was silent. Now she saw the lackeys and attendants bow profoundly. Now Appenzelder raised his arm.
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