Chapter IV: Part 4

In the face of the very defective sanitary arrangements of the prison, my Uncle Spencer did his best. He had a crowd of willing assistants; everybody was anxious to do something helpful. Nobody was more anxious than Emmy Wendle. The forced inaction of prison life, even when it was relieved by the jokes of the cheerful ones, by theatrical discussions and the facetious gallantry of the bank clerk and the journalist, was disagreeable to her. And the prospect of being able to do something, and particularly (since it was war-time, after all) of doing something useful and charitable, was welcomed by her with a real satisfaction. She sat by the Dravidian’s mattress, talked to him, gave him what he asked for, did the disagreeable jobs that have to be done in the sick-room, ordered my Uncle Spencer and the others about, and seemed completely happy.

For his part, my Uncle Spencer was delighted by what he regarded as a reversion to her true self. There could be no doubt about it now: Emmy was good, was kind, a ministering angel, and therefore (in spite of the professor’s heroic though profligate duke), therefore pure, therefore interesting, therefore worthy of all the love he could give her. He forgot the confession, or at least he ceased to attach importance to it; he was no longer haunted by the odious images which too much brooding over it evoked in his mind. What convinced him, perhaps, better than everything of her essential goodness, was the fact that she was once more kind to him. Her young energy, fully occupied in practical work (which was not, however, sufficiently trying to overtax the strength or set the nerves on edge), did not have to vent itself in laughter and mockery, as it had done when she recovered from the mood of melancholy which had depressed it during the first days of her imprisonment. They were fellow-workers now.

The Dravidian, meanwhile, grew worse and worse, weaker and weaker every day. The doctor was positively irritated.

“The man has no business to be so ill as he is,” he grumbled. “He’s not old, he isn’t an alcoholic or a syphilitic, his constitution is sound enough. He’s just letting himself die. At this rate he’ll never get past the crisis.”

At this piece of news Emmy became grave. She had never seen death at close quarters--a defect in her education which my Uncle Spencer, if he had had the bringing up of her, would have remedied. For death was one of those Realities of Life with which, he thought, every one ought to make the earliest possible acquaintance. Love, on the other hand, was not one of the desirable Realities. It never occurred to him to ask himself the reason for this invidious distinction. Indeed, there was no reason; it just was so.

“Tell me, Uncle Spenny,” she whispered, when the doctor had gone, “what _does_ really happen to people when they die?”

Charmed by this sign of Emmy’s renewed interest in serious themes, my Uncle Spencer explained to her what Alphonse at any rate thought would happen to him.

At midday, over the repeated cabbage soup and the horrible boiled meat, the bank clerk, with characteristically tasteless facetiousness, asked, “How’s our one little nigger boy?”

Emmy looked at him with disgust and anger. “I think you’re perfectly horrible,” she said. And, lowering her voice reverently, she went on, “The doctor says he’s going to die.”

The bank clerk was unabashed. “Oh, he’s going to kick the bucket, is he? Poor old blacky!”

Emmy made no answer; there was a general silence. It was as though somebody had started to make an unseemly noise in a church.

Afterwards, in the privacy of the little room, where, among the filing cabinets and the dusty papers, the Dravidian lay contentedly dying, Emmy turned to my Uncle Spencer and said, “You know, Uncle Spenny, I think you’re a wonderfully decent sort. I do, really.”

My Uncle Spencer was too much overcome to say anything but “Emmy, Emmy,” two or three times. He took her hand and, very gently, kissed it.

That afternoon they went on talking about all the things that might conceivably happen after one were dead. Emmy told my Uncle Spencer all that she had thought when she got the telegram--two years ago it was, and she was working in a hall at Glasgow, one of her first engagements, too--saying that her father had suddenly died. He drank too much, her father did; and he wasn’t kind to mother when he wasn’t himself. But she had been very fond of him, all the same; and when that telegram came she wondered and wondered....

My Uncle Spencer listened attentively, happy in having this new glimpse of her past; he forgot the other incident, which the beam of her confession had illumined for him.

Late that evening, after having lain for a long time quite still, as though he were asleep, Alphonse suddenly stirred, opened his large black eyes, and began to talk, at first in the incomprehensible language which came from him in delirium, then, when he realised that his listeners did not understand him, more slowly and in his strange pidgin-French.

“I have seen everything just now,” he said--“everything.”

“But what?” they asked.

“All that is going to happen. I have seen that this war will last a long time--a long time. More than fifty months.” And he prophesied enormous calamities.

My Uncle Spencer, who knew for certain that the war couldn’t possibly last more than three months, was incredulous. But Emmy, who had no preconceived ideas on war and a strong faith in oracles, stopped him impatiently when he wanted to bring the Dravidian to silence.

“Tell me,” she said, “what’s going to happen to us.” She had very little interest in the fate of civilisation.

“I am going to die,” Alphonse began.

My Uncle Spencer made certain deprecating little noises. “No, no,” he protested.

The Indian paid no attention to him. “I am going to die,” he repeated. “And you,” he said to my Uncle Spencer, “you will be let go and then again be put into prison. But not here. Somewhere else. A long way off. For a long time--a very long time. You will be very unhappy.” He shook his head. “I cannot help it; even though you have been so good to me. That is what I see. But the man who deceived me”--he meant the journalist--“he will very soon be set free and he will live in freedom, all the time. In such freedom as there will be here. And he who sits in the chair will at last go back to his own country. And he who sings will go free like the man who deceived me. And the small grey man will be sent to another prison in another country. And the fat woman with a red mouth will be sent to another country; but she will not be in prison. I think she will be married there--again.” The portraits were recognisably those of the Russian countess and the professor of Latin. “And the man with carbuncles on his face” (this was the bank clerk, no doubt) “will be sent to another prison in another country; and there he will die. And the woman in black who is so sad....”

But Emmy could bear to wait no longer. “What about me?” she asked. “Tell me what you see about me.”

The Dravidian closed his eyes and was silent for a moment. “You will be set free,” he said. “Soon. And some day,” he went on, “you will be the wife of this good man.” He indicated my Uncle Spencer. “But not yet; not for a long time; till all this strife is at an end. You will have children ... good fortune....” His words grew fainter; once more he closed his eyes. He sighed as though utterly exhausted. “Beware of fair strangers,” he murmured, reverting to the old familiar formula. He said no more.

Emmy and my Uncle Spencer were left looking at one another in silence.

“What do you think, Uncle Spenny?” she whispered at last. “Is it true?”

Two hours later the Indian was dead.

My Uncle Spencer slept that night, or rather did not sleep, in the living-room. The corpse lay alone among the archives. The words of the Indian continued to echo and re-echo in his mind: “Some day you will be the wife of this kind man.” Perhaps, he thought, on the verge of death, the spirit already begins to try its wings in the new world. Perhaps already it has begun to know the fringes, as it were, of secrets that are to be revealed to it. To my Uncle Spencer there was nothing repugnant in the idea. There was room in his universe for what are commonly and perhaps wrongly known as miracles. Perhaps the words were a promise, a statement of future fact. Lying on his back, his eyes fixed on the dark blue starry sky beyond the open window, he meditated on that problem of fixed fate and free will, with which the devils in Milton’s hell wasted their infernal leisure. And like a refrain the words repeated themselves: “Some day you will be the wife of this good man.” The stars moved slowly across the opening of the window. He did not sleep.

In the morning an order came for the release of the journalist and the opera singer. Joyfully they said good-bye to their fellow-prisoners; the door closed behind them. Emmy turned to my Uncle Spencer with a look almost of terror in her eyes; the Indian’s prophesies were already beginning to come true. But they said nothing to one another. Two days later the bank clerk left for an internment camp in Germany.

And then, one morning, my Uncle Spencer himself was sent for. The order came quite suddenly; they left him no time to take leave. He was examined by the competent authority, found harmless, and permitted to return to Longres, where, however, he was to live under supervision. They did not even allow him to go back to the prison and say good-bye; a soldier brought his effects from the Ministry; he was put on to the train, with orders to report to the commandant at Longres as soon as he arrived.

Antonieke received her master with tears of joy. But my Uncle Spencer took no pleasure in his recovered freedom. Emmy Wendle was still a prisoner. True, she would soon be set free; but then, he now realised to his horror, she did not know his address. He had been released at such startlingly short notice that he had had no time to arrange with her about the possibilities of future meetings; he had not even seen her on the morning of his liberation.

Two days after his return to Longres, he asked permission from the commandant, to whom he had to report himself every day, whether he might go to Brussels. He was asked why; my Uncle Spencer answered truthfully that it was to visit a friend in the prison from which he himself had just been released. Permission was at once refused.

My Uncle Spencer went to Brussels all the same. The sentry at the door of the prison arrested him as a suspicious person. He was sent back to Longres; the commandant talked to him menacingly. The next week, my Uncle Spencer tried again. It was sheer insanity, he knew; but doing something idiotic was preferable to doing nothing. He was again arrested.

This time they condemned him to internment in a camp in Germany. The Indian’s prophecies were being fulfilled with a remarkable accuracy. And the war did last for more than fifty months. And the carbuncular bank clerk, whom he found again in the internment camp, did, in fact, die....

What made him confide in me--me, whom he had known as a child and almost fathered--I do not know. Or perhaps I do know. Perhaps it was because he felt that I should be more competent to advise him on this sort of subject than his brother--my father--or old Mr. Bullinger, the Dante scholar, or any other of his friends. He would have felt ashamed, perhaps, to talk to them about this sort of thing. And he would have felt, too, that perhaps it wouldn’t be much good talking to them, and that I, in spite of my youth, or even because of it, might actually be more experienced in these matters than they. Neither my father nor Mr. Bullinger, I imagine, knew very much about male impersonators.

At any rate, whatever the cause, it was to me that he talked about the whole affair, that spring of 1919, when he was staying with us in Sussex, recuperating after those dreary months of confinement. We used to go for long walks together, across the open downs, or between the grey pillars of the beechwoods; and painfully overcoming reluctance after reluctance, proceeding from confidence to more intimate confidence, my Uncle Spencer told me the whole story.

The story involved interminable discussions by the way. For we had to decide, first of all, whether there was any possible scientific explanation of prophecy; whether there was such a thing as an absolute future waiting to be lived through. And at much greater length, even, we had to argue about women--whether they were really “like that” (and into what depths of cynicism my poor Uncle Spencer had learned, during the long, embittered meditations of his prison days and nights, to plunge and wallow!), or whether they were like the angels he had desired them to be.

But more important than to speculate on Emmy’s possible character was to discover where she now was. More urgent than to wonder if prophecy could conceivably be reliable, was to take steps to fulfil this particular prophecy. For weeks my Uncle Spencer and I played at detectives.

I have often fancied that we must have looked, when we made our inquiries together, uncommonly like the traditional pair in the stories--my Uncle Spencer, the bright-eyed, cadaverous, sharp-featured genius, the Holmes of the combination; and I, moon-faced and chubby, a very youthful Watson. But, as a matter of fact, it was I, if I may say so without fatuity, who was the real Holmes of the two. My Uncle Spencer was too innocent of the world to know how to set about looking for a vanished mistress; just as he was too innocent of science to know how or where to find out what there was to be discovered on any abstracter subject.

It was I who took him to the British Museum and made him look up all the back numbers of the theatrical papers to see when Emmy had last advertised her desire to be engaged. It was I, the apparent Watson, who thought of the theatrical agencies and the stage doors of all the suburban music-halls. Sleuth-like in aspect, innocent at heart, my Uncle Spencer followed, marvelling at my familiarity with the ways of the strange world.

But I must temper my boasting by the confession that we were always entirely unsuccessful. No agency had heard of Emmy Wendle since 1914. Her card had appeared in no paper. The porters of music-halls remembered her, but only as something antediluvian. “Emmy Wendle? Oh yes, Emmy Wendle....” And scratching their heads, they strove by a mental effort to pass from the mere name to the person, like palæontologists reconstructing the whole diplodocus from the single fossil bone.

Two or three times we were even given addresses. But the landladies of the lodging-houses where she had stayed did not even remember her; and the old aunt at Ealing, from whom we joyfully hoped so much, had washed her hands of Emmy two or three months before the war began. And the conviction she then had that Emmy was a bad girl was only intensified and confirmed by our impertinent inquiries. No, she knew nothing about Emmy Wendle, now, and didn’t want to know. And she’d trouble us to leave respectable people like herself in peace. And, defeated, we climbed back into our taxi, while the inhabitants of the squalid little street peered out at us and our vehicle, as though we had been visitors from another planet, and the metropolitan hackney carriage a fairy chariot.

“Perhaps she’s dead,” said my Uncle Spencer softly, after a long silence.

“Perhaps,” I said brutally, “she’s found a husband and retired into private life.”

My Uncle Spencer shut his eyes, sighed, and drew his hand across his forehead. What dreadful images filled his mind? He would almost have preferred that she should be dead.

“And yet the Indian,” he murmured, “he was always right....”

And perhaps he may still be right in this. Who knows?

LITTLE MEXICAN

The shopkeeper called it, affectionately, a little Mexican; and little, for a Mexican, it may have been. But in this Europe of ours, where space is limited and the scale smaller, the little Mexican was portentous, a giant among hats. It hung there, in the centre of the hatter’s window, a huge black aureole, fit for a king among devils. But no devil walked that morning through the streets of Ravenna; only the mildest of literary tourists. Those were the days when very large hats seemed in my eyes very desirable, and it was on my head, all unworthy, that the aureole of darkness was destined to descend. On my head; for at the first sight of the hat, I had run into the shop, tried it on, found the size correct, and bought it, without bargaining, at a foreigner’s price. I left the shop with the little Mexican on my head, and my shadow on the pavements of Ravenna was like the shadow of an umbrella pine.

The little Mexican is very old now, and moth-eaten and green. But I still preserve it. Occasionally, for old associations’ sake, I even wear it. Dear Mexican! it represents for me a whole epoch of my life. It stands for emancipation and the first year at the university. It symbolises the discovery of how many new things, new ideas, new sensations!--of French literature, of alcohol, of modern painting, of Nietzsche, of love, of metaphysics, of Mallarmé, of syndicalism, and of goodness knows what else. But, above all, I prize it because it reminds me of my first discovery of Italy. It re-evokes for me, my little Mexican, all the thrills and astonishments and virgin raptures of that first Italian tour in the early autumn of 1912. Urbino, Rimini, Ravenna, Ferrara, Modena, Mantua, Verona, Vicenza, Padua, Venice--my first impressions of all these fabulous names lie, like a hatful of jewels, in the crown of the little Mexican. Shall I ever have the heart to throw it away?

And then, of course, there is Tirabassi. Without the little Mexican I should never have made Tirabassi’s acquaintance. He would never have taken me, in my small unemphatic English hat, for a painter. And I should never, in consequence, have seen the frescoes, never have talked with the old Count, never heard of the Colombella. Never.... When I think of that, the little Mexican seems to me more than ever precious.

It was, of course, very typical of Tirabassi to suppose, from the size of my hat, that I must be a painter. He had a neat military mind that refused to accept the vague disorder of the world. He was for ever labelling and pigeon-holing and limiting his universe; and when the classified objects broke out of their pigeon-holes and tore the labels from off their necks, Tirabassi was puzzled and annoyed. In any case, it was obvious to him from the first moment he saw me in the restaurant at Padua, that I must be a painter. All painters wear large black hats. I was wearing the little Mexican. Ergo, I was a painter. It was syllogistic, unescapable.

He sent the waiter to ask me whether I would do him the honour of taking coffee with him at his table. For the first moment, I must confess, I was a little alarmed. This dashing young lieutenant of cavalry--what on earth could he want with me? The most absurd fancies filled my mind: I had committed, all unconsciously, some frightful solecism; I had trodden on the toes of the lieutenant’s honour, and he was about to challenge me to a duel. The choice of weapons, I rapidly reflected, would be mine. But what--oh, what on earth should I choose? Swords? I had never learnt to fence. Pistols? I had once fired six shots at a bottle, and missed it with every shot. Would there be time to write one or two letters, make some sort of a testament about my personal belongings? From this anguish of mind the waiter, returning a moment later with my fried octopus, delivered me. The Lieutenant Count, he explained in a whisper of confidence, had a villa on the Brenta, not far from Strà. A villa--he spread out his hands in a generous gesture--full of paintings. Full, full, full. And he was anxious that I should see them, because he felt sure that I was interested in paintings. Oh, of course--I smiled rather foolishly, for the waiter seemed to expect some sort of confirmatory interpolation from me--I _was_ interested in paintings; very much. In that case, said the waiter, the Count would be delighted to take me to see them. He left me, still puzzled, but vastly relieved. At any rate, I was not being called upon to make the very embarrassing choice between swords and pistols.

Surreptitiously, whenever he was not looking in my direction, I examined the Lieutenant Count. His appearance was not typically Italian (but then what is a typical Italian?). He was not, that is to say, blue-jowled, beady-eyed, swarthy, and aquiline. On the contrary, he had pale ginger hair, grey eyes, a snub nose, and a freckled complexion. I knew plenty of young Englishmen who might have been Count Tirabassi’s less vivacious brothers.

He received me, when the time came, with the most exquisite courtesy, apologising for the unceremonious way in which he had made my acquaintance. “But as I felt sure,” he said, “that you were interested in art, I thought you would forgive me for the sake of what I have to show you.” I couldn’t help wondering why the Count felt so certain about my interest in art. It was only later, when we left the restaurant together, that I understood; for, as I put on my hat to go, he pointed with a smile at the little Mexican. “One can see,” he said, “that you are a real artist.” I was left at a loss, not knowing what to answer.

After we had exchanged the preliminary courtesies, the Lieutenant plunged at once, entirely for my benefit I could see, into a conversation about art. “Nowadays,” he said, “we Italians don’t take enough interest in art. In a modern country, you see....” He shrugged his shoulders, leaving the sentence unfinished. “But I don’t think that’s right. I adore art. Simply adore it. When I see foreigners going round with their guide-books, standing for half an hour in front of one picture, looking first at the book, then at the picture”--and here he gave the most brilliantly finished imitation of an Anglican clergyman conscientiously “doing” the Mantegna chapel: first a glance at the imaginary guide-book held open in his two hands, then, with the movement of a chicken that drinks, a lifting of the face towards an imaginary fresco, a long stare between puckered eyelids, a falling open of the mouth, and finally a turning back of the eyes towards the inspired pages of Baedeker--“when I see them, I feel ashamed for us Italians.” The Count spoke very earnestly, feeling, no doubt, that his talent for mimicry had carried him a little too far. “And if they stand for half an hour looking at the thing, I go and stand there for an hour. That’s the way to understand great art. The only way.” He leaned back in his chair and sipped his coffee. “Unfortunately,” he added, after a moment, “one hasn’t got much time.”

I agreed with him. “When one can only get to Italy for a month at a stretch, like myself....”

“Ah, but if only I could travel about the world like you!” The Count sighed. “But here I am, cooped up in this wretched town. And when I think of the enormous capital that’s hanging there on the walls of my house....” He checked himself, shaking his head. Then, changing his tone, he began to tell me about his house on the Brenta. It sounded altogether too good to be true. Carpioni, yes--I could believe in frescoes by Carpioni; almost any one might have those. But a hall by Veronese, but rooms by Tiepolo, all in the same house--that sounded incredible. I could not help believing that the Count’s enthusiasm for art had carried him away. But, in any case, to-morrow I should be able to judge for myself; the Count had invited me to lunch with him.

We left the restaurant. Still embarrassed by the Count’s references to my little Mexican, I walked by his side in silence up the arcaded street.

“I am going to introduce you to my father,” said the Count. “He, too, adores the arts.”

More than ever I felt myself a swindler. I had wriggled into the Count’s confidence on false pretences; my hat was a lie. I felt that I ought to do something to clear up the misunderstanding. But the Count was so busy complaining to me about his father that I had no opportunity to put in my little explanation. I didn’t listen very attentively, I confess, to what he was saying. In the course of a year at Oxford, I had heard so many young men complain of their fathers. Not enough money, too much interference--the story was a stale one. And at that time, moreover, I was taking a very high philosophical line about this sort of thing. I was pretending that people didn’t interest me--only books, only ideas. What a fool one can make of oneself at that age!

“_Eccoci_,” said the Count. We halted in front of the Café Pedrochi. “He always comes here for his coffee.”

And where else, indeed, should he come for his coffee? Who, in Padua, would go anywhere else?

We found him sitting out on the terrace at the farther end of the building. I had never, I thought, seen a jollier-looking old gentleman. The old Count had a red weather-beaten face, with white moustaches bristling gallantly upwards and a white imperial in the grand Risorgimento manner of Victor Emmanuel the Second. Under the white tufty eyebrows, and set in the midst of a webwork of fine wrinkles, the eyes were brown and bright like a robin’s. His long nose looked, somehow, more practically useful than the ordinary human nose, as though made for fine judicial sniffing, for delicate burrowing and probing. Thick set and strong, he sat there solidly in his chair, his knees apart, his hands clasped over the knob of his cane, carrying his paunch with dignity, nobly I had almost said, before him. He was dressed all in white linen--for the weather was still very hot--and his wide grey hat was tilted rakishly forward over his left eye. It gave one a real satisfaction to look at him; he was so complete, so perfect in his kind.

The young Count introduced me. “This is an English gentleman. Signor....” He turned to me for the name.

“Oosselay,” I said, having learnt by experience that that was as near as any Italian could be expected to get to it.

“Signor Oosselay,” the young Count continued, “is an artist.”

“Well, not exactly an artist,” I was beginning; but he would not let me make an end.

“He is also very much interested in ancient art,” he continued. “To-morrow I am taking him to Dolo to see the frescoes. I know he will like them.”

We sat down at the old Count’s table; critically he looked at me and nodded. “_Benissimo_,” he said, and then added, “Let’s hope you’ll be able to do something to help us sell the things.”

This was startling. I looked in some perplexity towards the young Count. He was frowning angrily at his father. The old gentleman had evidently said the wrong thing; he had spoken, I guessed, too soon. At any rate, he took his son’s hint and glided off serenely on another tack.

“The fervid phantasy of Tiepolo,” he began rotundly, “the cool, unimpassioned splendour of Veronese--at Dolo you will see them contrasted.” I listened attentively, while the old gentleman thundered on in what was evidently a set speech. When it was over, the young Count got up; he had to be back at the barracks by half-past two. I too made as though to go; but the old man laid his hand on my arm. “Stay with me,” he said. “I enjoy your conversation infinitely.” And as he himself had hardly ceased speaking for one moment since first I set eyes on him, I could well believe it. With the gesture of a lady lifting her skirts out of the mud (and those were the days when skirts still had to be lifted) the young Count picked up his trailing sabre and swaggered off, very military, very brilliant and glittering, like a soldier on the stage, into the sunlight, out of sight.

The old man’s bird-bright eyes followed him as he went. “A good boy, Fabio,” he said, turning back to me at last, “a good son.” He spoke affectionately; but there was a hint, I thought, in his smile, in the tone of his voice, a hint of amusement, of irony. It was as though he were adding, by implication, “But good boys, after all, are fools to be so good.” I found myself, in spite of my affectation of detachment, extremely curious about this old gentleman. And he, for his part, was not the man to allow any one in his company to remain for long in splendid isolation. He insisted on my taking an interest in his affairs. He told me all about them--or at any rate all about some of them--pouring out his confidences with an astonishing absence of reserve. Next to the intimate and trusted friend, the perfect stranger is the best of all possible confidants. There is no commercial traveller, of moderately sympathetic appearance, who has not, in the course of his days in the train, his evenings in the parlours of commercial hotels, been made the repository of a thousand intimate secrets--even in England. And in Italy--goodness knows what commercial travellers get told in Italy. Even I, a foreigner, speaking the language badly, and not very skilful anyhow in conducting a conversation with strangers, have heard queer things in the second-class carriages of Italian trains.... Here, too, on Pedrochi’s terrace I was to hear queer things. A door was to be left ajar, and through the crack I was to have a peep at unfamiliar lives.

“What I should do without him,” the old gentleman continued, “I really don’t know. The way he manages the estate is simply wonderful.” And he went rambling off into long digressions about the stupidity of peasants, the incompetence and dishonesty of bailiffs, the badness of the weather, the spread of phylloxera, the high price of manure. The upshot of it all was that, since Fabio had taken over the estate, everything had gone well; even the weather had improved. “It’s such a relief,” the Count concluded, “to feel that I have some one in charge on whom I can rely, some one I can trust, absolutely. It leaves me free to devote my mind to more important things.”

I could not help wondering what the important things were; but it would have been impertinent, I felt, to ask. Instead, I put a more practical question. “But what will happen,” I asked, “when your son’s military duties take him away from Padua?”

The old Count gave me a wink and laid his forefinger, very deliberately, to the side of his long nose. The gesture was rich with significance. “They never will,” he said. “It’s all arranged. A little _combinazione_, you know. I have a friend in the Ministry. His military duties will always keep him in Padua.” He winked again and smiled.

I could not help laughing, and the old Count joined in with a joyous ha-ha that was the expression of a profound satisfaction, that was, as it were, a burst of self-applause. He was evidently proud of his little _combinazione_. But he was prouder still of the other combination, about which he now confidentially leaned across the table to tell me. It was decidedly the subtler of the two.

“And it’s not merely his military duties,” he said, wagging at me the thick, yellow-nailed forefinger which he had laid against his nose, “it’s not merely his military duties that’ll keep the boy in Padua. It’s his domestic duties. He’s married. I married him.” He leaned back in his chair, and surveyed me, smiling. The little wrinkles round his eyes seemed to be alive. “That boy, I said to myself, must settle down. He must have a nest, or else he’ll fly away. He must have roots, or else he’ll run. And his poor old father will be left in the lurch. He’s young, I thought, but he must marry. He _must_ marry. At once.” And the old gentleman made great play with his forefinger. It was a long story. His old friend, the Avvocato Monaldeschi, had twelve children--three boys and nine girls. (And here there were digressions about the Avvocato and the size of good Catholic families.) The eldest girl was just the right age for Fabio. No money, of course; but a good girl and pretty, and very well brought up and religious. Religious--that was very important, for it was essential that Fabio should have a large family--to keep him more effectually rooted, the old Count explained--and with these modern young women brought up outside the Church one could never be certain of children. Yes, her religion was most important; he had looked into that very carefully before selecting her. Well, the next thing, of course, was that Fabio should be induced to select her. It had been a matter of bringing the horse to water _and_ making him drink. Oh, a most difficult and delicate business! For Fabio prided himself on his independence; and he was obstinate, like a mule. Nobody should interfere with his affairs, nobody should make him do what he didn’t want to. And he was so touchy, he was so pig-headed that often he wouldn’t do what he really wanted, merely because somebody else had suggested that he ought to do it. So I could imagine--the old Count spread out his hands before me--just how difficult and delicate a business it had been. Only a consummate diplomat could have succeeded. He did it by throwing them together a great deal and talking, meanwhile, about the rashness of early marriages, the uselessness of poor wives, the undesirability of wives not of noble birth. It worked like a charm; within four months, Fabio was engaged; two months later he was married, and ten months after that he had a son and heir. And now he was fixed, rooted. The old gentleman chuckled, and I could fancy that I was listening to the chuckling of some old white-haired tyrant of the quattrocento, congratulating himself on the success of some peculiarly ingenious stroke of policy--a rich city induced to surrender itself by fraud, a dangerous rival lured by fair words into a cage and trapped. Poor Fabio, I thought; and also, what a waste of talent!

Yes, the old Count went on, now he would never go. He was not like his younger brother, Lucio. Lucio was a rogue, _furbo_, sly; he had no conscience. But Fabio had ideas about duty, and lived up to them. Once he had engaged himself, he would stick to his engagements, obstinately, with all the mulishness of his character. Well, now he lived on the estate, in the big painted house at Dolo. Three days a week he came into Padua for his military duties, and the rest of his time he devoted to the estate. It brought in, now, more than it had ever done before. But goodness knew, the old man complained, that was little enough. Bread and oil, and wine and milk, and chickens and beef--there was plenty of those and to spare. Fabio could have a family of fifty and they would never starve. But ready money--there wasn’t much of that. “In England,” the Count concluded, “you are rich. But we Italians....” He shook his head.

I spent the next quarter of an hour trying to persuade him that we were not all millionaires. But in vain. My statistics, based on somewhat imperfect memories of Mr. and Mrs. Sidney Webb, carried no conviction. In the end I gave it up.

The next morning Fabio appeared at the door of my hotel in a large, very old and very noisy Fiat. It was the family machine-of-all-work, bruised, scratched, and dirtied by years of service. Fabio drove it with a brilliant and easy recklessness. We rushed through the town, swerving from one side of the narrow street to the other, with a disregard for the rules of the road which, in a pedantic country like England, would have meant at the least a five-pound fine and an endorsed licence. But here the Carabiniers, walking gravely in couples under the arcades, let us pass without comment. Right or left--after all, what did it matter?

“Why do you keep the silencer out?” I shouted through the frightful clamour of the engine.

Fabio slightly shrugged his shoulders. “_È piu allegro così_,” he answered.

I said no more. From a member of this hardy race which likes noise, which enjoys discomfort, a nerve-ridden Englishman could hardly hope to get much sympathy.

We were soon out of the town. Trailing behind us a seething white wake of dust and with the engine rattling off its explosions like a battery of machine-guns, we raced along the Fusina road. On either hand extended the cultivated plain. The road was bordered by ditches, and on the banks beyond, instead of hedges, stood rows of little pollards, with grape-laden vines festooned from tree to tree. White with the dust, tendrils, fruit, and leaves hung there like so much goldsmith’s work sculptured in frosted metal, hung like the swags of fruit and foliage looped round the flanks of a great silver bowl. We hurried on. Soon, on our right hand, we had the Brenta, sunk deep between the banks of its canal. And now we were at Strà. Through gateways rich with fantastic stucco, down tunnels of undeciduous shade, we looked in a series of momentary glimpses into the heart of the park. And now for an instant the statues on the roof of the villa beckoned against the sky and were passed. On we went. To right and left, on either bank of the river, I got every now and then a glimpse of some enchanting mansion, gay and brilliant even in decay. Little baroque garden houses peeped at me over walls; and through great gates, at the end of powdery cypress avenues, half humorously, it seemed, the magniloquent and frivolous façades soared up in defiance of all the rules. I should have liked to do the journey slowly, to stop here and there, to look, to savour at leisure; but Fabio disdained to travel at anything less than fifty kilometres to the hour, and I had to be content with momentary and precarious glimpses. It was in these villas, I reflected, as we bumped along at the head of our desolation of white dust, that Casanova used to come and spend the summer; seducing the chamber-maids, taking advantage of terrified marchionesses in _calèches_ during thunderstorms, bamboozling soft-witted old senators of Venice with his fortune-telling and black magic. Gorgeous and happy scoundrel! In spite of my professed detachment, I envied him. And, indeed, what was that famous detachment but a disguised expression of the envy which the successes and audacities of a Casanova must necessarily arouse in every timid and diffident mind? If I lived in splendid isolation, it was because I lacked the audacity to make war--even to make entangling alliances. I was absorbed in these pleasing self-condemnatory thoughts, when the car slowed down and came to a standstill in front of a huge imposing gate. Fabio hooted impatiently on his horn; there was a scurry of footsteps, the sound of bolts being drawn, and the gate swung open. At the end of a short drive, very large and grave, very chaste and austere, stood the house. It was considerably older than most of the other villas I had seen in glimpses on our way. There was no frivolousness in its façade, no irregular grandiloquence. A great block of stuccoed brick; a central portico approached by steps and topped with a massive pediment; a row of rigid statues on the balustrade above the cornice. It was correctly, coldly even, Palladian. Fabio brought the car to a halt in front of the porch. We got out. At the top of the steps stood a young woman with a red-headed child in her arms. It was the Countess with the son and heir.

The Countess impressed me very agreeably. She was slim and tall--two or three inches taller than her husband; with dark hair, drawn back from the forehead and twisted into a knot on the nape of her neck; dark eyes, vague, lustrous, and melancholy, like the eyes of a gentle animal; a skin brown and transparent like darkened amber. Her manner was gentle and unemphatic. She rarely gesticulated; I never heard her raise her voice. She spoke, indeed, very little. The old Count had told me that his daughter-in-law was religious, and from her appearance I could easily believe it. She looked at you with the calm, remote regard of one whose life mostly goes on behind the eyes.

Fabio kissed his wife and then, bending his face towards the child, he made a frightful grimace and roared like a lion. It was all done in affection; but the poor little creature shrank away, terrified. Fabio laughed and pinched its ear.

“Don’t tease him,” said the Countess gently. “You’ll make him cry.”

Fabio turned to me. “That’s what comes of leaving a boy to be looked after by women. He cries at everything. Let’s come in,” he added. “At present we only use two or three rooms on the ground floor, and the kitchen in the basement. All the rest is deserted. I don’t know how these old fellows managed to keep up their palaces. I can’t.” He shrugged his shoulders. Through a door on the right of the portico we passed into the house. “This is our drawing-room and dining-room combined.”

It was a fine big room, nobly proportioned--a double cube, I guessed--with doorways of sculptured marble and a magnificent fireplace flanked by a pair of nymphs on whose bowed shoulders rested a sloping overmantel carved with coats of arms and festoons of foliage. Round the walls ran a frieze, painted in grisaille; in a graceful litter of cornucopias and panoplies, goddesses sumptuously reclined, cherubs wriggled and flew. The furniture was strangely mixed. Round a sixteenth-century dining-table that was a piece of Palladian architecture in wood, were ranged eight chairs in the Viennese secession style of 1905. A large chalet-shaped cuckoo clock from Bern hung on the wall between two cabinets of walnut, pilastered and pedimented to look like little temples, and with heroic statuettes in yellow boxwood, standing in niches between the pillars. And then the pictures on the walls, the cretonnes with which the arm-chairs were covered! Tactfully, however, I admired everything, new as well as old.

“And now,” said the Count, “for the frescoes.”

I followed him through one of the marble-framed doorways and found myself at once in the great central hall of the villa. The Count turned round to me. “There!” he said, smiling triumphantly with the air of one who has really succeeded in producing a rabbit out of an empty hat. And, indeed, the spectacle was sufficiently astonishing.

The walls of the enormous room were completely covered with frescoes which it did not need much critical judgment or knowledge to perceive were genuine Veroneses. The authorship was obvious, palpable. Who else could have painted those harmoniously undulating groups of figures set in their splendid architectural frame? Who else but Veronese could have combined such splendour with such coolness, so much extravagant opulence with such exquisite suavity?

“_È grandioso!_” I said to the Count.

And indeed it was. Grandiose; there was no other word. A rich triumphal arcade ran all round the room, four or five arches appearing on each wall. Through the arches one looked into a garden; and there, against a background of cypresses and statues and far-away blue mountains, companies of Venetian ladies and gentlemen gravely disported themselves. Under one arch they were making music; through another, one saw them sitting round a table, drinking one another’s health in glasses of red wine, while a little blackamoor in a livery of green and yellow carried round the silver jug. In the next panel they were watching a fight between a monkey and a cat. On the opposite wall a poet was reading his verses to the assembled company, and next to him Veronese himself--the self-portrait was recognisable--stood at his easel, painting the picture of an opulent blonde in rose-coloured satin. At the feet of the artist lay his dog; two parrots and a monkey were sitting on the marble balustrade in the middle distance.

I gazed with delight. “What a marvellous thing to possess!” I exclaimed, fairly carried away by my enthusiasm. “I envy you.”

The Count made a little grimace and laughed. “Shall we come and look at the Tiepolos?” he asked.

We passed through a couple of cheerful rooms by Carpioni--satyrs chasing nymphs through a romantic forest and, on the fringes of a seascape, a very eccentric rape of mermaids by centaurs--to step across a threshold into that brilliant universe, at once delicate and violently extravagant, wild and subtly orderly, which Tiepolo, in the last days of Italian painting, so masterfully and magically created. It was the story of Eros and Psyche, and the tale ran through three large rooms, spreading itself even on to the ceilings, where, in a pale sky dappled with white and golden clouds, the appropriate deities balanced themselves, diving or ascending through the empyrean with that air of being perfectly at home in their element which seems to belong, in nature, only to fishes and perhaps a few winged insects and birds.

Fabio had boasted to me that, in front of a picture, he could outstare any foreigner. But I was such a mortally long time admiring these dazzling phantasies that in the end he quite lost patience.

“I wanted to show you the farm before lunch,” he said, looking at his watch. “There’s only just time.” I followed him reluctantly.

We looked at the cows, the horses, the prize bull, the turkeys. We looked at the tall, thin haystacks, shaped like giant cigars set on end. We looked at the sacks of wheat in the barn. For lack of any better comment I told the Count that they reminded me of the sacks of wheat in English barns; he seemed delighted.

The farm buildings were set round an immense courtyard. We had explored three sides of this piazza; now we came to the fourth, which was occupied by a long, low building pierced with round archways and, I was surprised to see, completely empty.

“What’s this?” I asked, as we entered.

“It _is_ nothing,” the Count replied. “But it might, some day, become ... _chi sa_?” He stood there for a moment in silence, frowning pensively, with the expression of Napoleon on St. Helena--dreaming of the future, regretting past opportunities for ever lost. His freckled face, ordinarily a lamp for brightness, became incongruously sombre. Then all at once he burst out--damning life, cursing fate, wishing to God he could get away and do something instead of wasting himself here. I listened, making every now and then a vague noise of sympathy. What could I do about it? And then, to my dismay, I found that I could do something about it, that I was expected to do something. I was being asked to help the Count to sell his frescoes. As an artist, it was obvious, I must be acquainted with rich patrons, museums, millionaires. I had seen the frescoes; I could honestly recommend them. And now there was this perfected process for transferring frescoes on to canvas. The walls could easily be peeled of their painting, the canvases rolled up and taken to Venice. And from there it would be the easiest thing in the world to smuggle them on board a ship and get away with them. As for prices--if he could get a million and a half of lire, so much the better; but he’d take a million, he’d even take three-quarters. And he’d give me ten per cent, commission....

And afterwards, when he’d sold his frescoes, what would he do? To begin with--the Count smiled at me triumphantly--he’d turn this empty building in which we were now standing into an up-to-date cheese-factory. He could start the business handsomely on half a million, and then, using cheap female labour from the country round, he could be almost sure of making big profits at once. In a couple of years, he calculated, he’d be netting eighty or a hundred thousand a year from his cheeses. And then, ah then, he’d be independent, he’d be able to get away, he’d see the world. He’d go to Brazil and the Argentine. An enterprising man with capital could always do well out there. He’d go to New York, to London, to Berlin, to Paris. There was nothing he could not do.

But meanwhile the frescoes were still on the walls--beautiful, no doubt (for, the Count reminded me, he adored art), but futile; a huge capital frozen into the plaster, eating its head off, utterly useless. Whereas, with his cheese-factory....

Slowly we walked back towards the house.

I was in Venice again in the September of the following year, 1913. There were, I imagine, that autumn, more German honeymoon-couples, more parties of rucksacked Wander-Birds than there had ever been in Venice before. There were too many, in any case, for me; I packed my bag and took the train for Padua.

I had not originally intended to see young Tirabassi again. I didn’t know, indeed, how pleased he would be to see me. For the frescoes, so far as I knew, at any rate, were still safely on the walls, the cheese-factory still remote in the future, in the imagination. I had written to him more than once, telling him that I was doing my best, but that at the moment, etcetera, etcetera. Not that I had ever held out much hope. I had made it clear from the first that my acquaintance among millionaires was limited, that I knew no directors of American museums, that I had nothing to do with any of the international picture dealers. But the Count’s faith in me had remained, none the less, unshaken. It was the little Mexican, I believe, that inspired so much confidence. But now, after my letters, after all this lapse of time and nothing done, he might feel that I had let him down, deceived him somehow. That was why I took no steps to seek him out. But chance overruled my decision. On the third day of my stay in Padua, I ran into him in the street. Or rather he ran into me.

It was nearly six o’clock, and I had strolled down to the Piazza del Santo. At that hour, when the slanting light is full of colour and the shadows are long and profound, the great church, with its cupolas and turrets and campaniles, takes on an aspect more than ever fantastic and oriental. I had walked round the church, and now I was standing at the foot of Donatello’s statue, looking up at the grim bronze man, the ponderously stepping beast, when I suddenly became aware that some one was standing very close behind me. I took a step to one side and turned round. It was Fabio. Wearing his famous expression of the sightseeing parson, he was gazing up at the statue, his mouth open in a vacant and fish-like gape. I burst out laughing.

“Did I look like that?” I asked.

“Precisely.” He laughed too. “I’ve been watching you for the last ten minutes, mooning round the church. You English! Really....” He shook his head.

Together we strolled up the Via del Santo, talking as we went.

“I’m sorry I wasn’t able to do anything about the frescoes,” I said. “But really....” I entered into explanations.

“Some day, perhaps.” Fabio was still optimistic.

“And how’s the Countess?”

“Oh, she’s very well,” said Fabio, “considering. You know she had another son three or four months after you came to see us.”

“No?”