Author: Aldous Huxley
Category: Literature
Go to read content：https://onlinereadfreenovel.com/aldous-huxley/page,372,480199-complete_works_of_aldous_huxley.html
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 handsome!) 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 of 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 sight-seeing 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?”
“She’s expecting another now.” Fabio spoke rather gloomily, I thought. More than ever I admired the old Count’s sagacity. But I was sorry, for his son’s sake, that he had not a wider field in which to exercise his talents.
“And your father?” I asked. “Shall we find him sitting at Pedrochi’s, as usual?”
Fabio laughed. “We shall not,” he said significantly. “He’s flown.”
“Flown?”
“Gone, vanished, disappeared.”
“But where?”
“Who knows?” said Fabio. “My father is like the swallows; he comes and he goes. Every year.... But the migration isn’t regular. Sometimes he goes away in the spring; sometimes it’s the autumn, sometimes it’s the summer.... One fine morning his man goes into his room to call him as usual, and he isn’t there. Vanished. He might be dead. Oh, but he isn’t” Fabio laughed. “Two or three months later, in he walks again, as though he were just coming back from a stroll in the Botanical Gardens. ‘Good evening. Good evening.’” Fabio imitated the old Count’s voice and manner, snuffing the air like a war-horse, twisting the ends of an imaginary white moustache. “‘How’s your mother? How are the girls? How have the grapes done this year?’ Snuff, snuff. ‘How’s Lucio? And who the devil has left all this rubbish lying about in my study?’”Fabio burst into an indignant roar that made the loiterers in the Via Roma turn, astonished, in our direction.
“And where does he go?” I asked.
“Nobody knows. My mother used to ask, once. But she soon gave it up. It was no good. ‘Where have you been, Ascanio?’
‘My dear, I’m afraid the olive crop is going to be very poor this year.’ Snuff, snuff. And when she pressed him, he would fly into a temper and slam the doors.... What do you say to an aperitif?” Pedrochi’s open doors invited. We entered, chose a retired table, and sat down.
“But what do you suppose the old gentleman does when he’s away?”
“Ah!” And making the richly significant gesture I had so much admired in his father, the young Count laid his finger against his nose and slowly, solemnly winked his left eye.
“You mean...?”
Fabio nodded. “There’s a little widow here in Padua.” With his extended finger the young Count described in the air an undulating line. “Nice and plump. Black eyes. I’ve noticed that she generally seems to be out of town just at the time the old man does his migrations. But it may, of course, be a mere coincidence.” The waiter brought us our vermouth. Pensively the young Count sipped. The gaiety went out of his open, lamp-like face. “And meanwhile,” he went on slowly and in an altered voice, “I stay here, looking after the estate, so that the old man can go running round the world with his little pigeon — la sua colombella.” (The expression struck me as particularly choice.) “Oh, it’s funny, no doubt,” the young Count went on. “But it isn’t right. If I wasn’t married, I’d go clean away and try my luck somewhere else. I’d leave him to look after everything himself. But with a wife and two children — three children soon — how can I take the risk? At any rate, there’s plenty to eat as long as I stay here. My only hope,” he added, after a little pause, “is in the frescoes.”
Which implied, I reflected, that his only hope was in me; I felt sorry for him.
In the spring of 1914 I sent two rich Americans to look at Fabio’s villa. Neither of them made any offer to buy the frescoes; it would have astonished me if they had. But Fabio was greatly encouraged by their arrival. “I feel,” he wrote to me, “that a beginning has now been made. These Americans will go back to their country and tell their friends. Soon there will be a procession of millionaires coming to see the frescoes. Meanwhile, life is the same as ever. Rather worse, if anything. Our little daughter, whom we have christened Emilia, was born last month. My wife had a very bad time and is still far from well, which is very troublesome.” (It seemed a curious adjective to use, in the circumstances. But coming from Fabio, I understood it; he was one of those exceedingly healthy people to whom any sort of illness is mysterious, unaccountable, and above all extraordinarily tiresome and irritating.) “The day before yesterday my father disappeared again. I have not yet had time to find out if the Colombella has also vanished. My brother, Lucio, has succeeded in getting a motor-bicycle out of him, which is more than I ever managed to do. But then I was never one for creeping diplomaticall
y round and round a thing, as he can do.... I have been going very carefully into the cheese-factory business lately, and I am not sure that it might not be more profitable to set up a silkweaving establishment instead. When you next come, I will go into details with you.”
But it was a very long time before I saw Padua and the Count again.... The War put an end to my yearly visits to Italy, and for various reasons, even when it was over, I could not go south again as soon as I should have liked. Not till the autumn of 1921 did I embark again on the Venice express.
It was in an Italy not altogether familiar that I now found myself — an Italy full of violence and bloodshed. The Fascists and the Communists were still busily fighting. Roaring at the head of their dust-storms, the motor-lorries, loaded with cargoes of singing boys, careered across the country in search of adventure and lurking Bolshevism. One stood respectfully in the gutter while they passed; and through the flying dust, through the noise of the engine, a snatch of that singing would be blown back: “Giovinezza, giovinezza, primavera di bellezza...” (Youth, youth, springtime of beauty.) Where but in Italy would they have put such words to a political song? And then the proclamations, the manifestos, the denunciations, the appeals! Every hoarding and blank wall was plastered with them. Between the station and Pedrochi’s I walked through a whole library of these things. “Citizens!” they would begin. “A heroic wind is to-day reviving the almost asphyxiated soul of our unhappy Italy, overcome by the poisonous fumes of Bolshevism and wallowing in ignoble abasement at the feet of the Nations.” And they finished, for the most part, with references to Dante. I read them all with infinite pleasure.
I reached Pedrochi’s at last. On the terrace, sitting in the very corner where I had seen him first, years before, was the old Count. He stared at me blankly when I saluted him, not recognizing me at all. I began to explain who I was; after a moment he cut me short, almost impatiently, protesting that he remembered now, perfectly well. I doubted very much whether he really did; but he was too proud to confess that he had forgotten. Meanwhile, he invited me to sit at his table.
At a first glance, from a distance, I fancied that the old Count had not aged a day since last I saw him. But I was wrong. From the street, I had only seen the rakish tilt of his hat, the bristling of his white moustache and imperial, the parted knees, the noble protrusion of the paunch. But now that I could look at him closely and at leisure, I saw that he was in fact a very different man. Under the tilted hat his face was unhealthily purple; the flesh sagged into pouches. In the whites of his eyes, discoloured and as though tarnished with age, the little broken veins showed red. And, lustreless, the eyes themselves seemed to look without interest at what they saw. His shoulders were bent as though under a weight, and when he lifted his cup to his lips his hand trembled so much that a drop of coffee splashed on to the table. He was an old man now, old and tired.
“How’s Fabio?” I asked; since 1916 I had had no news of him.
“Oh, Fabio’s well,” the old Count answered, “Fabio’s very well. He has six children now, you know.” And the old gentleman nodded and smiled at me without a trace of malice. He seemed quite to have forgotten the reasons for which he had been at so much pains to select a good Catholic for a daughter-in-law. “Six,” he repeated. “And then, you know, he did very well in the war. We Tirabassi have always been warriors.” Full of pride, he went on to tell me of Fabio’s exploits and sufferings. Twice wounded, special promotion on the field of battle, splendid decorations. He was a major now.
“And do his military duties still keep him in Padua?”
The old gentleman nodded, and suddenly there appeared on his face something like the old smile. “A little combinatione of mine,” he said, and chuckled.
“And the estate?” I asked.
Oh, that was doing all right, everything considered. It had got rather out of hand during the war, while Fabio was at the front. And then, afterwards, there had been a lot of trouble with the peasants; but Fabio and his Fascists were putting all that to rights. “With Fabio on the spot,” said the old gentleman, “I have no anxieties.” And then he began to tell me, all over again, about Fabio’s exploits in the war.
The next day I took the train to Strà, and after an hour agreeably spent in the villa and the park, I walked on at my leisure towards Dolo. It took me a long time to get there, for on this occasion I was able to stop and look for as long as I liked at all the charming things on the way. Casanova seemed, now, a good deal less enviable, I noticed, looking inwards on myself, than he had when last I passed this way. I was nine years older.
The gates were open; I walked in. There stood the house, as grave and ponderous as ever, but shabbier than when I saw it last. The shutters needed painting, and here and there the stucco was peeling off in scabs. I approached. From within the house came a cheerful noise of children’s laughter and shouting. The family, I supposed, was playing hide-and-seek, or trains, or perhaps some topical game of Fascists and Communists. As I climbed the steps of the porch, I could hear the sound of small feet racing over the tiled floors; in the empty rooms footsteps and shouting strangely echoed. And then suddenly, from the sitting-room on the right, came the sound of Fabio’s voice, furiously shouting, “Oh, for God’s sake,” it yelled, “keep those wretched children quiet.” And then, petulantly, it complained, “How do you expect me to do accounts with this sort of thing going on?” There was at once a profound and as it were unnatural silence; then the sound of small feet tiptoeing away, some whispering, a little nervous laugh. I rang the bell.
It was the Countess who opened the door. She stood for a moment hesitatingly, wondering who I was; then remembered, smiled, held out her hand. She had grown, I noticed, very thin, and with the wasting of her face, her eyes seemed to have become larger. Their expression was as gentle and serene as ever; she seemed to be looking at me from a distance.
“Fabio will be delighted to see you,” she said, and she took me through the door on the right of the porch straight into the sitting-room. Fabio was sitting at the Palladian table in front of a heap of papers, biting the end of his pencil.
Even in his grey-green service uniform the young Count looked wonderfully brilliant, like a soldier on the stage. His face was still boyishly freckled, but the skin was deeply lined; he looked very much older than when I had seen him last-older than he really was. The open cheerfulness, the shining, lamp-like brightness were gone. On his snubby-featured face he wore a ludicrously incongruous expression of chronic melancholy. He brightened, it is true, for a moment when I appeared; I think he was genuinely glad to see me.
“Caspita!” he kept repeating. “Caspita!” (It was his favourite expression of astonishment, an odd, old-fashioned word.) “Who would have thought it? After all this time!”
“And all the eternity of the war as well,” I said.
But when the first ebullition of surprise and pleasure subsided, the look of melancholy came back.
“It gives me the spleen,” he said, “to see you again; still travelling about; free to go where you like. If you knew what life was like here...”
“Well, in any case,” I said, feeling that I ought, for the Countess’s sake, to make some sort of protest, “in any case the war’s over, and you have escaped a real revolution. That’s something.”
“Oh, you’re as bad as Laura,” said the Count impatiently. He looked towards his wife, as though hoping that she would say something. But the Countess went on with her sewing without even looking up. The Count took my arm. “Come along,” he said, and his tone was almost one of anger. “Let’s take a turn outside.” His wife’s religious resignation, her patience, her serenity angered him, I could see, like a reprimand — tacit, indeed, and unintentionally given, but none the less galling.
Along the weed-grown paths of what had once, in the ancient days of splendour, been the garden, slowly we walked towards the farm. A few ragged box-trees grew along the fringes of the paths; once there had been neat hedges. Poised over a dry
basin a Triton blew his waterless conch. At the end of the vista a pair of rapes — Pluto and Proserpine, Apollo and Daphne — writhed desparately against the sky.
“I saw your father yesterday,” I said. “He looks aged.”
“And so he ought,” said Fabio murderously. “He’s sixty-nine.”
I felt uncomfortably that the subject had become too serious for light conversation. I had wanted to ask after the Colombella; in the circumstances, I decided that it would be wiser to say nothing about her. I repressed my curiosity. We were walking now under the lea of the farm buildings.
“The cows look very healthy,” I said politely, looking through an open doorway. In the twilight within, six grey rumps plastered with dry dung presented themselves in file; six long leather tails swished impatiently from side to side. Fabio made no comment; he only grunted.
“In any case,” he went on slowly, after another silence, “he can’t live much longer. I shall sell my share and clear off to South America, family or no family.” It was a threat against his own destiny, a threat of which he must have known the vanity. He was deceiving himself to keep up his spirits.
“But I say,” I exclaimed, taking another and better opportunity to change the conversation, “I see you have started a factory here after all.” We had walked round to the farther side of the square. Through the windows of the long low building which, at my last visit, had stood untenanted, I saw the complicated shapes of machines, rows of them in a double line down the whole length of the building. “Looms? Then you decided against cheese? And the frescoes?” I turned questioningly towards the Count. I had a horrible fear that, when we got back to the house, I should find the great hall peeled of its Veroneses and a blank of plaster where once had been the history of Eros and Psyche.