Giorgio explained that his discovery was an accident, as most discoveries are. He had observed the effect on a {138} drop of hot glass when it fell into the water. It became crackled and frosted, and he at once tried the same thing on his goblet. Beroviero assured Giorgio that his discovery would prove of great value, and promised to take the young man to the palace, that he might show the goblet to the Doge. But that very evening the old glassmaker was attacked by masked thieves as he was floating in his gondola, and survived his wounds but a few hours. Marino, who succeeded his father, claimed Giorgio's invention as the property of the firm, as Giorgio was still an apprentice, and the courts decided in his favor. Thus Marino had the sole right to make crackled glass; and Giorgio, driven to desperation by this injustice, stole the book in which Angelo Beroviero had written out all his methods and discoveries, and made an exact copy of it. This he sold to another firm, and with the proceeds set up a factory of his own. He married Giannetta, and seemed to have a promising future before him; but whatever he undertook ended unfortunately. The theft by which he thought to found a fortune was heavy on his conscience, and to it he attributed all his unhappiness. But under his son the Ballerini (Giorgio was called Ballerino in derision) became celebrated, and attained great eminence as glass-makers. When Buona entered the convent, Felicia devoted herself to making an altar-cloth, in which she used the most costly materials that she could procure. The design was that of the Crucifixion. Three years she labored on it, and at last all was completed save the crown of thorns. She had constantly grown more and more fragile; and one evening, as the sun was setting, she called her mother, saying, "See, dear mother, the end is come. I have pointed the last thorn in His earthly crown." As she ceased speaking, her head drooped, and she was dead. She was buried beneath the altar of the convent {139} church, and her exquisite embroidery served both as a cloth for the altar and a monument to her who had wrought it in loving faith. Marino Beroviero maintained the reputation of his family, and made still further advances in his art. His business was extensive and prosperous, and a few years after his father's death he married the sister of Mocenigo, the former suitor of Buona. {140} CHAPTER VIII. MARINO FALIERO; VETTORE PISANI AND CARLO ZENO.