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Attilio and Emilio Bandiera were sons of the Austrian admiral who, in 1831, arrested Italian fugitives at sea. Placed by their father in the Austrian navy, they renounced every prospect of a brilliant career to enter the service of their down-trodden country.
And as in the case of Celia and Attilio, all hearts flew to them, to their radiant beauty, to the wondrous happiness that made their faces so resplendent.
And as in the case of Celia and Attilio, all hearts flew to them, to their radiant beauty, to the wondrous happiness that made their faces so resplendent.
But his voice quavered, for even whilst he was looking at Celia and Attilio, who stood smiling and talking together, he saw Benedetta and Dario approach them, wearing the same joyful expression of perfect happiness. And when the two couples were united, so radiant and so triumphant, so full of superb and happy life, he no longer had strength to stay there, see them, and suffer.
I would like to meet that man or woman who can make Attilio say something foolish. He does not know what it is to feel shy. Serenely objective, he discards those subterfuges which are the usual safeguard of youth or inexperience the evasions, reservations and prevarications that defend the shallow, the weak, the self-conscious. His candour rises above them.
Bononcini and Attilio Ariosti, his old acquaintances in Berlin, were also attracted by this new operatic venture to London, and their arrival was followed by a competition of a very novel character. The libretto of a new opera, "Muzio Scævola," was divided between the three composers. Attilio was to put the first act to music, Bononcini the second, and Handel the third.
But in that brief passage he had opened our souls to everlasting things the freshness, and the darkness, and the kindness of the brooding, all-enfolding night above the sea. The night before the wedding we had a supper-party in my rooms. We were twelve in all. My friend Eustace brought his gondolier Antonio with fair-haired, dark-eyed wife, and little Attilio, their eldest child.
Urns, on the wall on either side of the doorways and in the rotunda, designed by William G. Merchant. Suggested by urns in the Vatican, Rome. Maiden of the Roman Campagna, by Albin Polasek. A Fawn's Toilet, by Attilio Piccirilli. Apollo, by Haig Patigian. The Scalp, by Edward Berge. Primitive Man, by Olga Popoff Muller. Youth, by Victor D. Salvatore. Soldier of Marathon, by Paul Noquet.
The Saccos had but just arrived, and Attilio, in his simple lieutenant's uniform, had remained near his betrothed, so naively and openly delighted with his great happiness that his handsome face, with its caressing mouth and brave eyes, was quite resplendent with youth and strength.
And just as Dario had pointed out the Palazzo Buongiovanni, a huge seventeenth-century facade, with windows encompassed by foliaged ornamentation deplorably heavy in style, he added gaily: "Ah! look that's Attilio there on the footway. Young Lieutenant Sacco you know, don't you?" Pierre signed that he understood.
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