“Oh, the frescoes are still there, what’s left of them.” And in spite of Fabio’s long face, I was delighted at the news. “I persuaded my father to sell some of his house property in Padua, and we started this weaving business here two years ago. Just in time,” Fabio added, “for the Communist revolution.”
Poor Fabio, he had no luck. The peasants had seized his factory and had tried to possess themselves of his land. For three weeks he had lived at the villa in a state of siege, defending the place, with twenty Fascists to help him, against all the peasants of the countryside. The danger was over now; but the machines were broken, and in any case it was out of the question to start them again; feeling was still too high. And what, for Fabio, made it worse was the fact that his brother Lucio, who had also got a little capital out of the old man, had gone off to Bulgaria and invested it in a bootlace factory. It was the only bootlace factory in the country, and Lucio was making money hand over fist. Free as air he was, well off, with a lovely Turkish girl for a mistress. For Fabio, the Turkish girl was evidently the last straw. “Una Turca, una vera Turca,” he repeated, shaking his head. The female infidel symbolized in his eyes all that was exotic, irregular, undomestic; all that was not the family; all that was remote from Padua and the estate.
“And they were such beautiful machines,” said Fabio, pausing for a moment to look in at the last of the long line of windows. “Whether to sell them, whether to wait till all this has blown over and have them put right and try to start again — I don’t know.” He shrugged his shoulders hopelessly. “Or just let things slide till the old man dies.” We turned the corner of the square and began to walk back towards the house. “Sometimes,” he added, after a silence, “I don’t believe he ever will die.”
The children were playing in the great hall of the Veroneses. The majestic double doors which gave on to the portico were ajar; through the opening we watched them for a moment without being seen. The family was formed up in order of battle. A redheaded boy of ten or eleven led the van, a brown boy followed. Then came three little girls, diminishing regularly in size like graded pearls; and finally a little toddling creature in blue linen crawlers. All six of them carried shouldered bamboos, and they were singing in ragged unison to a kind of trumpet call of three notes: “All’ armi i Fascisti; a morte i Communisti; a basso i Socialisti” — over and over again. And as they sang they marched, round and round, earnestly, indefatigably. The huge empty room echoed like a swimming-bath. Remote under their triumphal arches, in their serene world of fantastic beauty, the silken ladies and gentlemen played their music, drank their wine; the poet declaimed, the painter poised his brush before the canvas; the monkeys clambered among the Roman ruins, the parrots dozed on the balustrades. “All’ armi i Fascisti, a morte i Communisti...” I should have liked to stand there in silence, merely to see how long the children would continue their patriotic march. But Fabio had none of my scientific curiosity; or if he ever had, it had certainly been exhausted long before the last of his children was born. After indulging me for a moment with the spectacle, he pushed open the door and walked in. The children looked round and were immediately silent. What with his bad temper and his theory of education by teasing, they seemed to be thoroughly frightened of their father.
“Go on,” he said, “go on.” But they wouldn’t; they obviously couldn’t, in his terrifying presence. Unobtrusively they slipped away.
Fabio led me round the painted room. “Look here,” he said, “and look here.” In one of the walls of the great hall there were half a dozen bullet holes. A chip had been taken off one of the painted cornices; one lady was horriby wounded in the face; there were two or three holes in the landscape, and a monkey’s tail was severed. “That’s our friends, the peasants,” Fabio explained.
In the Carpioni rooms all was still well; the satyrs still pursued their nymphs, and in the room of the centaurs and the mermaids, the men who were half horses still galloped as tumultuously as ever into the sea, to ravish the women who were half fish. But the tale of Eros and Psyche had suffered dreadfully. The exquisite panel in which Tiepolo had painted Psyche holding up the lamp to look at her mysterious lover was no more than a faint, mildewy smudge. And where once the indignant young god had flown upwards to rejoin his Olympian relatives (who still, fortunately, swam about intact among the clouds on the ceiling) there was nothing but the palest ghost of an ascending Cupid, while Psyche weeping on the earth below was now quite invisible.
“That’s our friends the French,” said Fabio. “They were quartered here in 1918, and they didn’t trouble to shut the windows when it rained.”
Poor Fabio! Everything was against him. I had no consolation to offer. That autumn I sent him an art critic and three more Americans. But nothing came of their visits. The fact was that he had too much to offer. A picture — that might easily have been disposed of. But what could one do with a whole houseful of paintings like this?
The months passed. About Easter time of the next year I had another letter from Fabio. The olive crop had been poor. The Countess was expecting another baby and was far from well. The two eldest children were down with measles, and the last but one had what the Italians call an “asinine cough.” He expected all the children to catch both diseases in due course. He was very doubtful now if it would ever be worth while to restart his looms; the position of the silk trade was not so sound as it had been at the end of 1919. If only he had stuck to cheese, as he first intended! Ludo had just made fifty thousand lire by a lucky stroke of speculation. But the female infidel had run off with a Rumanian. The old Count was ageing rapidly; when Fabio saw him last, he had told the same anecdote three times in the space of ten minutes. With these two pieces of good news — they were for him, I imagine, the only bright spots in the surrounding gloom — Fabio dosed his letter. I was left wondering why he troubled to write to me at all. It may be that he got a certain lacerating satisfaction by thus enumerating his troubles.
That August there was a musical festival in Salzburg. I had never been in Austria; the occasion seemed to me a good one. I went, and I enjoyed myself prodigiously. Salzburg at the moment is all in the movement. There are baroque churches in abundance; there are Italianate fountains; there are gardens and palaces that mimic in their extravagantly ponderous Teutonic way the gardens and palaces of Rome. And, choicest treasure of all, there is a tunnel, forty feet high, bored through a precipitous crag — a tunnel such as only a Prince Bishop of the seventeenth century could have dreamed of, having at either end an arch of triumph, with pilasters, broken pediments, statues, scutcheons, all carved out of the living rock — a masterpiece among tunnels, and in a town where everything, without being really good, is exquisitely “amusing,” the most amusing feature of all. Ah, decidedly, Salzburg is in the movement.
One afternoon I took the funicular up to the castle. There is a beer-terrace under the walls of the fortress from which you get a view that is starred in Baedeker. Below you on one side lies the town, spread out in the curving valley, with a river running through it, like a small and German version of Florence. From the other side of the terrace you look out over a panorama that makes no pretence to Italianism; it is as sweetly and romantically German as an air out of Weber’s Freischûtz. There are mountains on the horizon, spiky and blue like mountains in a picture book; and in the foreground, extending to the very foot of the extremely improbable crag on which the castle and the beer-garden are perched, stretches a flat green plain — miles upon miles of juicy meadows dotted with minusculous cows, with here and there a neat toy farm, or, more rarely, a cluster of dolls’ houses, with a spire going up glittering from the midst of them.
I was sitting with my blond beer in front of this delicious and slightly comical landscape, thinking comfortably of nothing in particular, when I heard behind me a rapturous voice exclaiming, “Bello, bello!” I looked round curiously — for it seemed to me somehow rather surprising to hear Italian spoken here — and saw one of those fine sumptuous wome
n they admire so much in the South. She was a bella grassa, plump to the verge of overripeness and perilously near middle age; but still in her way exceedingly handsome. Her face had the proportions of an iceberg — one-fifth above water, four-fifths below. Ample and florid from the eyes downwards, it was almost foreheadless; the hair began immediately above the brows. The eyes themselves were dark, large, and, for my taste, at least, somewhat excessively tender in expression. I took her in in a moment and was about to look away again when her companion, who had been looking at the view on the other side, turned round. It was the old Count.
I was far more embarrassed, I believe, than he. I felt myself blushing, as our eyes met, as though it were I who had been travelling about the world with a Colombella and he who had caught me in the act. I did not know what to do — whether to smile and speak to him, or to turn away as though I had not recognized him, or to nod from a distance and then, discreetly, to disappear. But the old Count put an end to my irresolution by calling out my name in astonishment, by running up to me and seizing my hand. What a delight to see an old friend! Here of all places! In this God-forsaken country — though it was cheap enough, didn’t I find? He would introduce me to a charming compatriot of his own, an Italian lady he had met yesterday in the train from Vienna.
I was made known to the Colombella, and we all sat down at my table. Speaking resolutely in Italian, the Count ordered two more beers. We talked. Or rather the Count talked; for the conversation was a monologue. He told us anecdotes of the Italy of fifty yean ago; he gave us imitations of the queer characters he had known; he even, at one moment, imitated the braying of an ass — I forgot in what context; but the braying remains vividly in my memory. Snuffing the air between every sentence, he gave us his views on women. The Colombella screamed indignant protests, dissolved herself in laughter. The old Count twisted his moustaches, twinkling at her through the network of his wrinkles. Every now and then he turned in my direction and gave me a little wink.
I listened in astonishment. Was this the man who had told the same anecdote three times in ten minutes? I looked at the old Count. He was leaning towards the Colombella whispering something in her ear which made her laugh so much that she had to wipe the tears from her eyes. Turning away from her, he caught my eye; smiling, he shrugged his shoulders as though to say, “These women! What imbeciles, but how delicious, how indispensable!” Was this the tired old man I had seen a year ago sitting on Pedrochi’s terrace? It seemed incredible.
“Well, good-bye, a rivederci.” They had to get down into the town again. The funicular was waiting.
“I’m delighted to have seen you,” said the old Count, shaking me affectionately by the hand.
“And so am I,” I protested. “Particularly delighted to see you so well.”
“Yes, I’m wonderfully well now,” he said, blowing out his chest.
“And young,” I went on. “Younger than I am! How have you done it?”
“Aha!” The old Count cocked his head on one side mysteriously.
More in joke than in earnest, “I believe you’ve been seeing Steinach in Vienna,” I said. “Having a rejuvenating operation.”
For all reply, the old Count raised the forefinger of his right hand, laying it first to his lips, then along the side of his nose, and as he did so he winked. Then clenching his fist, and with his thumb sticking rigidly up, he made a complicated gesture which would, I am sure, for an Italian, have been full of a profound and vital significance. To me, however, unfamiliar with the language of signs, the exact meaning was not entirely clear. But the Count offered no verbal explanation. Still without uttering a word, he raised his hat; then laying his finger once more to his lips, he turned and ran with an astonishing agility down the steep path towards the little carriage of the funicular, in which the Colombella had already taken her seat.
Hubert and Minnie
FOR HUBERT LAPELL this first love-affair was extremely important. “Important” was the word he had used himself when he was writing about it in his diary. It was an event in his life, a real event for a change. It marked, he felt, a genuine turning-point in his spiritual development.
“Voltaire,” he wrote in his diary — and he wrote it a second time in one of his letters to Minnie— “Voltaire said that one died twice: once with the death of the whole body and once before, with the death of one’s capacity to love. And in the same way one is born twice, the second time being on the occasion when one first falls in love. One is born, then, into a new world — a world of intenser feelings, heightened values, more penetrating insights.” And so on.
In point of actual fact Hubert found this new world a little disappointing. The intenser feelings proved to be rather mild; not by any means up to literary standards.
“I tell thee I am mad
In Cressid’s love. Thou answer’st: she is fair,
Pour’st in the open ulcer of my heart
Her eyes, her hair, her cheek, her gait, her voice....”
No, it certainly wasn’t quite that. In his diary, in his letters to Minnie, he painted, it is true, a series of brilliant and romantic landscapes of the new world. But they were composite imaginary landscapes in the manner of Salvator Rosa — richer, wilder, more picturesquely clear-obscure than the real thing. Hubert would seize with avidity on the least velleity of an unhappiness, a physical desire, a spiritual yearning, to work it up in his letters and journals into something substantially romantic. There were times, generally very late at night, when he succeeded in persuading himself that he was indeed the wildest, unhappiest, most passionate of lovers. But in the daytime he went about his business nourishing something like a grievance against love.The thing was a bit of a fraud; yes, really, he decided, rather a fraud. All the same, he supposed it was important.
For Minnie, however, love was no fraud at all. Almost from the first moment she had adored him. A common friend had brought him to one of her Wednesday evenings. “This is Mr Lapell; but he’s too young to be called anything but Hubert.” That was how he had been introduced. And, laughing, she had taken his hand and called him Hubert at once. He too had laughed, rather nervously. “My name’s Minnie,” she said. But he had been too shy to call her anything at all that evening. His brown hair was tufty and untidy, like a little boy’s, and he had shy grey eyes that never looked at you for more than a glimpse at a time, but turned away almost at once, as though they were afraid. Quickly he glanced at you, eagerly — then away again; and his musical voice, with its sudden emphases, its quick modulations from high to low, seemed always to address itself to a ghost floating low down and a little to one side of the person to whom he was talking. Above the brows was a forehead beautifully domed, with a pensive wrinkle running up from between the eyes. In repose his full-lipped mouth pouted a little, as though he were expressing some chronic discontent with the world. And, of course, thought Minnie, the world wasn’t beautiful enough for his idealism.
“But after all,” he had said earnestly that first evening, “one has the world of thought to live in. That, at any rate, is simple and clear and beautiful. One can always live apart from the brutal scramble.”
And from the depths of the arm-chair in which, fragile, tired, and in these rather “artistic” surroundings almost incongruously elegant, she was sitting, Helen Glamber laughed her clear little laugh. “I think, on the contrary,” she said (Minnie remembered every incident of that first evening), “I think one ought to rush about and know thousands of people, and eat and drink enormously, and make love incessantly, and shout and laugh and knock people over the head.” And having vented these Rabelaisian sentiments, Mrs Glamber dropped back with a sigh of fatigue, covering her eyes with a thin white hand; for she had a splitting headache, and the light hurt her.
“Really!” Minnie protested, laughing. She would have felt rather shocked if any one eke had said that; but Helen Glamber was allowed to say anything.
Hubert reaffirmed his quietkm. Elegant, weary, infinitely fragile, Mrs Glamber
lay back in her arm-chair, listening. Or perhaps, under her covering hand, she was trying to go to sleep.
She had adored him at first sight. Now that she looked back she could see that it had been at first sight. Adored him protectively, maternally — for he was only twenty and very young, in spite of the wrinkle between his brows, and the long words, and the undergraduate’s newly discovered knowledge; only twenty, and she was nearly twenty-nine. And she had fallen in love with his beauty, too. Ah, passionately.
Hubert, perceiving it later, was surprised and exceedingly flattered. This had never happened to him before. He enjoyed being worshipped, and since Minnie had fallen so violently in love with him, it seemed the most natural thing in the world for him to be in love with Minnie. True, if she had not started by adoring him, it would never have occurred to Hubert to fall in love with her. At their first meeting he had found her certainly very nice, but not particularly exciting. Afterwards, the manifest expression of her adoration had made him find her more interesting, and in the end he had fallen in love himself. But perhaps it was not to be wondered at if he found the process a little disappointing.
But still, he reflected on those secret occasions when he had to admit to himself that something was wrong with this passion, love without possession could never, surely, in the nature of things, be quite the genuine article. In his diary he recorded aptly those two quatrains of John Donne:
Complete Works of Aldous Huxley Page 373
