Massimilla Doni

Those who watch nature detect her in jests of the shrewdest irony. For instance, she places toads in the neighborhood of flowers, as she had placed this man by the side of this rose of love.

“Will you play the violin this evening, my dear Duke?” asked the woman, as she unhooked a cord to let a handsome curtain fall over the door.

“Play the violin!” thought Prince Emilio. “What can have happened to my palazzo? Am I awake? Here I am, in that woman’s bed, and she certainly thinks herself at home – she has taken off her cloak! Have I, like Vendramin, inhaled opium, and am I in the midst of one of those dreams in which he sees Venice as it was three centuries ago?”

The unknown fair one, seated in front of a dressing-table blazing with wax lights, was unfastening her frippery with the utmost calmness.

“Ring for Giulia,” said she; “I want to get my dress off.”

At that instant, the Duke noticed that the supper had been disturbed; he looked round the room, and discovered the Prince’s trousers hanging over a chair at the foot of the bed.

“Clarina, I will not ring!” cried the Duke, in a shrill voice of fury. “I will not play the violin this evening, nor tomorrow, nor ever again – ”

“Ta, ta, ta, ta!” sang Clarina, on the four octaves of the same note, leaping from one to the next with the ease of a nightingale.

“In spite of that voice, which would make your patron saint Clara envious, you are really too impudent, you rascally hussy!”

“You have not brought me up to listen to such abuse,” said she, with some pride.

“Have I brought you up to hide a man in your bed? You are unworthy alike of my generosity and of my hatred – ”

“A man in my bed!” exclaimed Clarina, hastily looking round.

“And after daring to eat our supper, as if he were at home,” added the Duke.

“But am I not at home?” cried Emilio. “I am the Prince of Varese; this palace is mine.”

As he spoke, Emilio sat up in bed, his handsome and noble Venetian head framed in the flowing hangings.

At first Clarina laughed – one of those irrepressible fits of laughter which seize a girl when she meets with an adventure comic beyond all conception. But her laughter ceased as she saw the young man, who, as has been said, was remarkably handsome, though but lightly attired; the madness that possessed Emilio seized her, too, and, as she had no one to adore, no sense of reason bridled her sudden fancy – a Sicilian woman in love.

“Although this is the palazzo Memmi, I will thank your Highness to quit,” said the Duke, assuming the cold irony of a polished gentleman. “I am at home here.”

“Let me tell you, Monsieur le Duc, that you are in my room, not in your own,” said Clarina, rousing herself from her amazement. “If you have any doubts of my virtue, at any rate give me the benefit of my crime – ”

“Doubts! Say proof positive, my lady!”

“I swear to you that I am innocent,” replied Clarina.

“What, then, do I see in that bed?” asked the Duke.

“Old Ogre!” cried Clarina. “If you believe your eyes rather than my assertion, you have ceased to love me. Go, and do not weary my ears! Do you hear? Go, Monsieur le Duc. This young Prince will repay you the million francs I have cost you, if you insist.”

“I will repay nothing,” said Emilio in an undertone.

“There is nothing due! A million is cheap for Clara Tinti when a man is so ugly. Now, go,” said she to the Duke. “You dismissed me; now I dismiss you. We are quits.”

At a gesture on Cataneo’s part, as he seemed inclined to dispute this order, which was given with an action worthy of Semiramis, – the part in which la Tinti had won her fame, – the prima donna flew at the old ape and put him out of the room.

“If you do not leave me in quiet this evening, we never meet again. And my never counts for more than yours,” she added.

“Quiet!” retorted the Duke, with a bitter laugh. “Dear idol, it strikes me that I am leaving you agitata!”

The Duke departed.

His mean spirit was no surprise to Emilio.

Every man who has accustomed himself to some particular taste, chosen from among the various effects of love, in harmony with his own nature, knows that no consideration can stop a man who has allowed his passions to become a habit.

Clarina bounded like a fawn from the door to the bed.

“A prince, and poor, young, and handsome!” cried she. “Why, it is a fairy tale!”

The Sicilian perched herself on the bed with the artless freedom of an animal, the yearning of a plant for the sun, the airy motion of a branch waltzing to the breeze. As she unbuttoned the wristbands of her sleeves, she began to sing, not in the pitch that won her the applause of an audience at the Fenice, but in a warble tender with emotion. Her song was a zephyr carrying the caresses of her love to the heart.

She stole a glance at Emilio, who was as much embarrassed as she; for this woman of the stage had lost all the boldness that had sparkled in her eyes and given decision to her voice and gestures when she dismissed the Duke. She was as humble as a courtesan who has fallen in love.

To picture la Tinti you must recall one of our best French singers when she came out in Il Fazzoletto, an opera by Garcia that was then being played by an Italian company at the theatre in the Rue Lauvois. She was so beautiful that a Naples guardsman, having failed to win a hearing, killed himself in despair. The prima donna of the Fenice had the same refinement of features, the same elegant figure, and was equally young; but she had in addition the warm blood of Sicily that gave a glow to her loveliness. Her voice was fuller and richer, and she had that air of native majesty that is characteristic of Italian women.

La Tinti – whose name also resembled that which the French singer assumed – was now seventeen, and the poor Prince three-and-twenty. What mocking hand had thought it sport to bring the match so near the powder? A fragrant room hung with rose-colored silk and brilliant with wax lights, a bed dressed in lace, a silent palace, and Venice! Two young and beautiful creatures! every ravishment at once.

Emilio snatched up his trousers, jumped out of bed, escaped into the dressing-room, put on his clothes, came back and hurried to the door.

These were his thoughts while dressing: —

“Massimilla, beloved daughter of the Doni, in whom Italian beauty is an hereditary prerogative, you who are worthy of the portrait of Margherita, one of the few canvases painted entirely by Raphael to his glory! My beautiful and saintly mistress, shall I not have deserved you if I fly from this abyss of flowers? Should I be worthy of you if I profaned a heart that is wholly yours? No; I will not fall into the vulgar snare laid for me by my rebellious senses! This girl has her Duke, mine be my Duchess!”

As he lifted the curtain, he heard a moan. The heroic lover looked round and saw Clarina on her knees, her face hidden in the bed, choking with sobs. Is it to be believed? The singer was lovelier kneeling thus, her face invisible, than even in her confusion with a glowing countenance. Her hair, which had fallen over her shoulders, her Magdalen-like attitude, the disorder of her half-unfastened dress, – the whole picture had been composed by the devil, who, as is well known, is a fine colorist.

The Prince put his arm round the weeping girl, who slipped from him like a snake, and clung to one foot, pressing it to her beautiful bosom.

“Will you explain to me,” said he, shaking his foot to free it from her embrace, “how you happen to be in my palazzo? How the impoverished Emilio Memmi – ”

“Emilio Memmi!” cried Tinti, rising. “You said you were a Prince.”

“A Prince since yesterday.”

“You are in love with the Duchess Cataneo!” said she, looking at him from head to foot.

Emilio stood mute, seeing that the prima dona was smiling at him through her tears.

“Your Highness does not know that the man who had me trained for the stage – that the Duke – is Cataneo himself. And your friend Vendramini, thinking to do you a service, let him this palace for a thousand crowns, for the period of my season at the Fenice. Dear idol of my heart!” she went on, taking his hand and drawing him towards her, “why do you fly from one for whom many a man would run the risk of broken bones? Love, you see, is always love. It is the same everywhere; it is the sun of our souls; we can warm ourselves whenever it shines, and here – now – it is full noonday. If to-morrow you are not satisfied, kill me! But I shall survive, for I am a real beauty!”

Emilio decided on remaining. When he signified his consent by a nod the impulse of delight that sent a shiver through Clarina seemed to him like a light from hell. Love had never before appeared to him in so impressive a form.

At that moment Carmagnola whistled loudly.

“What can he want of me?” said the Prince.

But bewildered by love, Emilio paid no heed to the gondolier’s repeated signals.

If you have never traveled in Switzerland you may perhaps read this description with pleasure; and if you have clambered among those mountains you will not be sorry to be reminded of the scenery.

In that sublime land, in the heart of a mass of rock riven by a gorge, – a valley as wide as the Avenue de Neuilly in Paris, but a hundred fathoms deep and broken into ravines, – flows a torrent coming from some tremendous height of the Saint-Gothard on the Simplon, which has formed a pool, I know not how many yards deep or how many feet long and wide, hemmed in by splintered cliffs of granite on which meadows find a place, with fir-trees between them, and enormous elms, and where violets also grow, and strawberries. Here and there stands a chalet and at the window you may see the rosy face of a yellow-haired Swiss girl. According to the moods of the sky the water in this tarn is blue and green, but as a sapphire is blue, as an emerald is green. Well, nothing in the world can give such an idea of depth, peace, immensity, heavenly love, and eternal happiness – to the most heedless traveler, the most hurried courier, the most commonplace tradesman – as this liquid diamond into which the snow, gathering from the highest Alps, trickles through a natural channel hidden under the trees and eaten through the rock, escaping below through a gap without a sound. The watery sheet overhanging the fall glides so gently that no ripple is to be seen on the surface which mirrors the chaise as you drive past. The postboy smacks his whip; you turn past a crag; you cross a bridge: suddenly there is a terrific uproar of cascades tumbling together one upon another. The water, taking a mighty leap, is broken into a hundred falls, dashed to spray on the boulders; it sparkles in a myriad jets against a mass that has fallen from the heights that tower over the ravine exactly in the middle of the road that has been so irresistibly cut by the most formidable of active forces.

If you have formed a clear idea of this landscape, you will see in those sleeping waters the image of Emilio’s love for the Duchess, and in the cascades leaping like a flock of sheep, an idea of his passion shared with la Tinti. In the midst of his torrent of love a rock stood up against which the torrent broke. The Prince, like Sisyphus, was constantly under the stone.

“What on earth does the Duke do with a violin?” he wondered. “Do I owe this symphony to him?”

He asked Clara Tinti.

“My dear child,” – for she saw that Emilio was but a child, – “dear child,” said she, “that man, who is a hundred and eighteen in the parish register of vice, and only forty-seven in the register of the Church, has but one single joy left to him in life. Yes, everything is broken, everything in him is ruin or rags; his soul, intellect, heart, nerves, – everything in man that can supply an impulse and remind him of heaven, either by desire or enjoyment, is bound up with music, or rather with one of the many effects produced by music, the perfect unison of two voices, or of a voice with the top string of his violin. The old ape sits on my knee, takes his instrument, – he plays fairly well, – he produces the notes, and I try to imitate them. Then, when the long-sought-for moment comes when it is impossible to distinguish in the body of sound which is the note on the violin and which proceeds from my throat, the old man falls into an ecstasy, his dim eyes light up with their last remaining fires, he is quite happy and will roll on the floor like a drunken man.

“That is why he pays Genovese such a price. Genovese is the only tenor whose voice occasionally sounds in unison with mine. Either we really do sing exactly together once or twice in an evening, or the Duke imagines that we do; and for that imaginary pleasure he has bought Genovese. Genovese belongs to him. No theatrical manager can engage that tenor without me, nor have me to sing without him. The Duke brought me up on purpose to gratify that whim; to him I owe my talent, my beauty, – my fortune, no doubt. He will die of an attack of perfect unison. The sense of hearing alone has survived the wreck of his faculties; that is the only thread by which he holds on to life. A vigorous shoot springs from that rotten stump. There are, I am told, many men in the same predicament. May Madonna preserve them!

“You have not come to that! You can do all you want – all I want of you, I know.”

Towards morning the Prince stole away and found Carmagnola lying asleep across the door.

“Altezza,” said the gondolier, “the Duchess ordered me to give you this note.”

He held out a dainty sheet of paper folded into a triangle. The Prince felt dizzy; he went back into the room and dropped into a chair, for his sight was dim, and his hands shook as he read: —

“DEAR EMILIO: – Your gondola stopped at your palazzo. Did you not know that Cataneo has taken it for la Tinti? If you love me, go to-night to Vendramin, who tells me he has a room ready for you in his house. What shall I do? Can I remain in Venice to see my husband and his opera singer? Shall we go back together to Friuli? Write me one word, if only to tell me what the letter was you tossed into the lagoon.

“MASSIMILLA DONI.”

The writing and the scent of the paper brought a thousand memories back to the young Venetian’s mind. The sun of a single-minded passion threw its radiance on the blue depths come from so far, collected in a bottomless pool, and shining like a star. The noble youth could not restrain the tears that flowed freely from his eyes, for in the languid state produced by satiated senses he was disarmed by the thought of that purer divinity.

Even in her sleep Clarina heard his weeping; she sat up in bed, saw her Prince in a dejected attitude, and threw herself at his knees.

“They are still waiting for the answer,” said Carmagnola, putting the curtain aside.

“Wretch, you have undone me!” cried Emilio, starting up and spurning Clarina with his foot.

She clutched it so lovingly, her look imploring some explanation, – the look of a tear-stained Samaritan, – that Emilio, enraged to find himself still in the toils of the passion that had wrought his fall, pushed away the singer with an unmanly kick.

“You told me to kill you, – then die, venomous reptile!” he exclaimed.

He left the palace, and sprang into his gondola.

“Pull,” said he to Carmagnola.

“Where?” asked the old servant.

“Where you will.”

The gondolier divined his master’s wishes, and by many windings brought him at last into the Canareggio, to the door of a wonderful palazzo, which you will admire when you see Venice, for no traveler ever fails to stop in front of those windows, each of a different design, vying with each other in fantastic ornament, with balconies like lace-work; to study the corners finishing in tall and slender twisted columns, the string-courses wrought by so inventive a chisel that no two shapes are alike in the arabesques on the stones.

How charming is that doorway! how mysterious the vaulted arcade leading to the stairs! Who could fail to admire the steps on which ingenious art has laid a carpet that will last while Venice stands, – a carpet as rich as if wrought in Turkey, but composed of marbles in endless variety of shapes, inlaid in white marble. You will delight in the charming ornament of the colonnades of the upper story, – gilt like those of a ducal palace, – so that the marvels of art are both under your feet and above your head.

What delicate shadows! How silent, how cool! But how solemn, too, was that old palace! where, to delight Emilio and his friend Vendramin, the Duchess had collected antique Venetian furniture, and employed skilled hands to restore the ceilings. There, old Venice lived again. The splendor was not merely noble, it was instructive. The archaeologist would have found there such models of perfection as the middle ages produced, having taken example from Venice. Here were to be seen the original ceilings of woodwork covered with scrolls and flowers in gold on a colored ground, or in colors on gold, and ceilings of gilt plaster castings, with a picture of many figures in each corner, with a splendid fresco in the centre, – a style so costly that there are not two in the Louvre, and that the extravagance of Louis XIV. shrunk from such expense at Versailles. On all sides marble, wood, and silk had served as materials for exquisite workmanship.

Emilio pushed open a carved oak door, made his way down the long, vaulted passage which runs from end to end on each floor of a Venetian palazzo, and stopped before another door, so familiar that it made his heart beat. On seeing him, a lady companion came out of a vast drawing-room, and admitted him to a study where he found the Duchess on her knees in front of a Madonna.

He had come to confess and ask forgiveness. Massimilla, in prayer, had converted him. He and God; nothing else dwelt in that heart.

The Duchess rose very unaffectedly, and held out her hand. Her lover did not take it.

“Did not Gianbattista see you, yesterday?” she asked.

“No,” he replied.

“That piece of ill-luck gave me a night of misery. I was so afraid lest you might meet the Duke, whose perversity I know too well. What made Vendramin let your palace to him?”

“It was a good idea, Milla, for your Prince is poor enough.”

Massimilla was so beautiful in her trust of him, and so wonderfully lovely, so happy in Emilio’s presence, that at this moment the Prince, wide awake, experienced the sensations of the horrible dream that torments persons of a lively imagination, in which after arriving in a ballroom full of women in full dress, the dreamer is suddenly aware that he is naked, without even a shirt; shame and terror possess him by turns, and only waking can relieve him from his misery. Thus stood Emilio’s soul in the presence of his mistress. Hitherto that soul had known only the fairest flowers of feeling; a debauch had plunged it into dishonor. This none knew but he, for the beautiful Florentine ascribed so many virtues to her lover that the man she adored could not but be incapable of any stain.

As Emilio had not taken her hand, the Duchess pushed her fingers through his hair that the singer had kissed. Then she perceived that Emilio’s hand was clammy and his brow moist.

“What ails you?” she asked, in a voice to which tenderness gave the sweetness of a flute.

“Never till this moment have I known how much I love you,” he replied.

“Well, dear idol, what would you have?” said she.

“What have I done to make her ask that?” he wondered to himself.

“Emilio, what letter was that which you threw into the lagoon?”

“Vendramini’s. I had not read it to the end, or I should never have gone to my palazzo, and there have met the Duke; for no doubt it told me all about it.”

Massimilla turned pale, but a caress from Emilio reassured her.

“Stay with me all day; we will go to the opera together. We will not set out for Friuli; your presence will no doubt enable me to endure Cataneo’s,” said Massimilla.

Though this would be torment to her lover’s soul, he consented with apparent joy.

If anything can give us a foretaste of what the damned will suffer on finding themselves so unworthy of God, is it not the state of a young man, as yet unpolluted, in the presence of a mistress he reveres, while he still feels on his lips the taste of infidelity, and brings into the sanctuary of the divinity he worships the tainted atmosphere of the courtesan?

Baader, who in his lectures eliminated things divine by erotic imagery, had no doubt observed, like some Catholic writers, the intimate resemblance between human and heavenly love.

This distress of mind cast a hue of melancholy over the pleasure the young Venetian felt in his mistress’ presence. A woman’s instinct has amazing aptitude for harmony of feeling; it assumes the hue, it vibrates to the note suggested by her lover. The pungent flavor of coquettish spice is far indeed from spurring affection so much as this gentle sympathy of tenderness. The smartness of a coquette too clearly marks opposition; however transient it is displeasing; but this intimate comprehension shows a perfect fusion of souls. The hapless Emilio was touched by the unspoken divination which led the Duchess to pity a fault unknown to her.

Massimilla, feeling that her strength lay in the absence of any sensual side to her love, could allow herself to be expansive; she boldly and confidently poured out her angelic spirit, she stripped it bare, just as during that diabolical night, La Tinti had displayed the soft lines of her body, and her firm, elastic flesh. In Emilio’s eyes there was as it were a conflict between the saintly love of this white soul and that of the vehement and muscular Sicilian.

The day was spent in long looks following on deep meditations. Each of them gauged the depths of tender feeling, and found it bottomless; a conviction that brought fond words to their lips. Modesty, the goddess who in a moment of forgetfulness with Love, was the mother of Coquettishness, need not have put her hand before her face as she looked at these lovers. As a crowning joy, an orgy of happiness, Massimilla pillowed Emilio’s head in her arms, and now and then ventured to press her lips to his; but only as a bird dips its beak into the clear waters of a spring, looking round lest it should be seen. Their fancy worked upon this kiss, as a composer develops a subject by the endless resources of music, and it produced in them such tumultuous and vibrating echoes as fevered their blood.

The Idea must always be stronger than the Fact, otherwise desire would be less perfect than satisfaction, and it is in fact the stronger, – it gives birth to wit. And, indeed, they were perfectly happy; for enjoyment must always take something off happiness. Married in heaven alone, these two lovers admired each other in their purest aspect, – that of two souls incandescent, and united in celestial light, radiant to the eyes that faith has touched; and, above all, filled with the rapture which the brush of a Raphael, a Titian, a Murillo, has depicted, and which those who have ever known it, taste again as they gaze at those paintings. Do not such peerless spirits scorn the coarser joys lavished by the Sicilian singer – the material expression of that angelic union?

These noble thoughts were in the Prince’s mind as he reposed in heavenly calm on Massimilla’s cool, soft, white bosom, under the gentle radiance of her eyes veiled by long, bright lashes; and he gave himself up to this dream of an ideal orgy. At such a moment, Massimilla was as one of the Virgin visions seen in dreams, which vanish at cock-crow, but whom we recognize when we find them again in their realm of glory, – in the works of some great painters of Heaven.

In the evening the lovers went to the theatre. This is the way of Italian life: love in the morning; music in the evening; the night for sleep. How far preferable is this existence to that of a country where every one expends his lungs and strength in politics, without contributing any more, single-minded, to the progress of affairs than a grain of sand can make a cloud of dust. Liberty, in those strange lands, consists in the right to squabble over public concerns, to take care of oneself, to waste time in patriotic undertakings each more futile than the last, inasmuch as they all weaken that noble, holy self-concern which is the parent of all great human achievement. At Venice, on the contrary, love and its myriad ties, the sweet business of real happiness, fills up all the time.

In that country, love is so much a matter of course that the Duchess was regarded as a wonder; for, in spite of her violent attachment to Emilio, everybody was confident of her immaculate purity. And women gave their sincere pity to the poor young man, who was regarded as a victim to the virtue of his lady-love. At the same time, no one cared to blame the Duchess, for in Italy religion is a power as much respected as love.

Evening after evening Massimilla’s box was the first object of every opera-glass, and each woman would say to her lover, as she studied the Duchess and her adorer:

“How far have they got?”

The lover would examine Emilio, seeking some evidence of success; would find no expression but that of a pure and dejected passion. And throughout the house, as they visited from box to box, the men would say to the ladies:

“La Cataneo is not yet Emilio’s.”

“She is unwise,” said the old women. “She will tire him out.”

“Forse!” (Perhaps) the young wives would reply, with the solemn accent that Italians can infuse into that great word – the answer to many questions here below.

Some women were indignant, thought the whole thing ill-judged, and declared that it was a misapprehension of religion to allow it to smother love.

“My dear, love that poor Emilio,” said the Signora Vulpato to Massimilla, as they met on the stairs in going out.

“I do love him with all my might,” replied the Duchess.

“Then why does not he look happy?”

Massimilla’s reply was a little shrug of her shoulders.

We in France – France as the growing mania for English proprieties has made it – can form no idea of the serious interest taken in this affair by Venetian society.

Vendramini alone knew Emilio’s secret, which was carefully kept between two men who had, for private pleasure, combined their coats of arms with the motto Non amici, frates.

The opening night of the opera season is an event at Venice, as in every capital in Italy. The Fenice was crowded.

The five hours of the night that are spent at the theatre fill so important a place in Italian life that it is well to give an account of the customs that have risen from this manner of spending time.

The boxes in Italy are unlike those of any other country, inasmuch as that elsewhere the women go to be seen, and that Italian ladies do not care to make a show of themselves. Each box is long and narrow, sloping at an angle to the front and to the passage behind. On each side is a sofa, and at the end stand two armchairs, one for the mistress of the box, and the other for a lady friend when she brings one, which she rarely does. Each lady is in fact too much engaged in her own box to call on others, or to wish to see them; also no one cares to introduce a rival. An Italian woman almost always reigns alone in her box; the mothers are not the slaves of their daughters, the daughters have no mother on their hands; thus there are no children, no relations to watch and censure and bore, or cut into a conversation.

In front every box is draped in the same way, with the same silk: from the cornice hang curtains, also all to match; and these remain drawn when the family to whom the box belongs is in mourning. With very few exceptions, and those only at Milan, there is no light inside the box; they are illuminated only from the stage, and from a not very brilliant hanging lustre which, in spite of protests, has been introduced into the house in some towns; still, screened by the curtains, they are never very light, and their arrangement leaves the back of the box so dark that it is very difficult to see what is going on.

The boxes, large enough to accommodate eight or ten persons, are decorated with handsome silks, the ceilings are painted and ornamented in light and pleasing colors; the woodwork is gilt. Ices and sorbets are served there, and sweetmeats; for only the plebeian classes ever have a serious meal. Each box is freehold property, and of considerable value; some are estimated at as much as thirty thousand lire; the Litta family at Milan own three adjoining. These facts sufficiently indicate the importance attributed to this incident of fashionable life.

Conversation reigns supreme in this little apartment, which Stendhal, one of the most ingenious of modern writers, and a keen student of Italian manners, has called a boudoir with a window opening on to a pit. The music and the spectacle are in fact purely accessory; the real interest of the evening is in the social meeting there, the all-important trivialities of love that are discussed, the assignations held, the anecdotes and gossip that creep in. The theatre is an inexpensive meeting-place for a whole society which is content and amused with studying itself.

The men who are admitted take their seats on one of the sofas, in the order of their arrival. The first comer naturally is next to the mistress of the box, but when both seats are full, if another visitor comes in, the one who has sat longest rises, takes his leave and departs. All move up one place, and so each in turn is next the sovereign.

This futile gossip, or serious colloquy, these elegant trivialities of Italian life, inevitably imply some general intimacy. The lady may be in full dress or not, as she pleases. She is so completely at home that a stranger who has been received in her box may call on her next day at her residence. The foreign visitor cannot at first understand this life of idle wit, this dolce far niente on a background of music. Only long custom and keen observation can ever reveal to a foreigner the meaning of Italian life, which is like the free sky of the south, and where a rich man will not endure a cloud. A man of rank cares little about the management of his fortune; he leaves the details to his stewards (ragionati), who rob and ruin him. He has no instinct for politics, and they would presently bore him; he lives exclusively for passion, which fills up all his time; hence the necessity felt by the lady and her lover for being constantly together; for the great feature of such a life is the lover, who for five hours is kept under the eye of a woman who has had him at her feet all day. Thus Italian habits allow of perpetual satisfaction, and necessitate a constant study of the means fitted to insure it, though hidden under apparent light-heartedness.