- Project Runeberg -  The Miracles of Antichrist /
216

(1909) [MARC] [MARC] Author: Selma Lagerlöf Translator: Pauline Bancroft Flach
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Note: Translator Pauline Bancroft Flach died in 1966, less than 70 years ago. Therefore, this work is protected by copyright, restricting your legal rights to reproduce it. However, you are welcome to view it on screen, as you do now. Read more about copyright.

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216 THE MIR A CLES OF ANTICHRIST

cesses’ silk trains and economize on the gilding of
the king’s crowns.

Perhaps it is not so dangerous at another theatre,
but at a marionette theatre it is a risk to make any
changes, because it is chiefly half-grown boys who
go to the marionette theatre. Big people can
understand that sometimes it is necessary to economize,
but children always wish to have things in the same
way.

Fewer and fewer spectators came to Don Antonio,
and he went on economizing and saving. Then it
occurred to him that he could dispense with the
two blind violin-players, Father Elia and Brother
Tommaso, who also used to play during the
interludes and in the battle-scenes.

Those blind men, who earned so much by singing
in houses of mourning, and who took in vast sums
on feast-days, were expensive. Don Antonio
dismissed them and got a hand-organ.

That caused his ruin. All the apprentices and
shop-boys in Diamante ceased to go to the theatre.
They would not sit and listen to a hand-organ. They
promised one another not to go to the theatre till
Don Antonio had taken back the fiddlers, and they
kept their promise. Don Antonio’s dolls had to
perform to empty walls.

The young boys who otherwise would rather go
without their supper than the theatre, stayed away
night after night. They were convinced that they
could force Don Antonio to arrange everything as
before.

But Don Antonio comes of a family of artists.
His father and his brother have marionette theatres;
his brothers-in-law, all his relations are of the pro-

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