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As for Hedwig, she pressed her ear to the glass of the window that she might not lose any note. But she would not open nor give any sign. Nino was not so easily discouraged, for he remembered that once before she had opened her window for a few bars he had begun to sing. He played a few chords, and breathed out the "Salve, dimora casta e pura," from Faust, high and soft and clear.
I will take this opportunity of describing the chapels at Oropa, and more especially the remarkable fossil, or petrified girl school, commonly known as the Dimora, or Sojourn of the Virgin Mary in the Temple. If I do not take these works so seriously as the reader may expect, let me beg him, before he blames me, to go to Oropa and see the originals for himself.
There is no inscription saying who made the figures, but tradition gives them to Pietro Aureggio Termine, of Biella, commonly called Aureggio. This is confirmed by their strong resemblance to those in the Dimora Chapel, in which there is an inscription that names Aureggio as the sculptor. The sixth chapel deals with the Presentation of the Virgin in the Temple.
As we rattled over the pavings, through the lighted streets, no one spoke. The lady leaned back in her corner. Opposite her Rodriguez hummed "Salve! dimora" and I beside him, sat strangely confused and inert, still as if in a dream.
There is no inscription saying who made the figures, but tradition gives them to Pietro Aureggio Termine, of Biella, commonly called Aureggio. This is confirmed by their strong resemblance to those in the Dimora Chapel, in which there is an inscription that names Aureggio as the sculptor. The sixth chapel deals with the Presentation of the Virgin in the Temple.
The poem is a contention between an upland and a lowland shepherd, and begins in genuine pastoral fashion: Come Titan del seno dell' aurora Esce, così con le mie pecorelle I monti cerco sema far dimora.
This last summer I revisited Oropa, near Biella, to see what connection I could find between the Oropa chapels and those at Varallo. I will take this opportunity of describing the chapels at Oropa, and more especially the remarkable fossil, or petrified girl school, commonly known as the Dimora, or Sojourn of the Virgin Mary in the Temple.
Once his hand touched her ear, and she felt its warm dryness, and she sighed. "Salve Dimora" ceased. "Another!" she said. And she said, "Another!" and "Another!" until the box's repertoire was finished, and then she made him turn on once more, "Come o'er the Moonlit Sea!" Her gloves lay on the divan beside her, and she did not draw them on again.
In him there was a complete novelty to appeal to her jaded appetites, rendered capricious and uneasy by years of so-called pleasure. A few minutes ago, when he had spoken of death, he had been a mysterious and cruel fatalist. Now he was a deliciously absurd child, but a child with the frame of a splendid man. The musical box clicked. "Salve Dimora." "Do you feel better?" he asked her. She nodded.
Evidently he meant to announce a visitor; but before he could open his mouth a high and singularly musical voice came from the entrance hall in the exquisite opening bars of the "Salve Dimora." With one amazed cry of "Felix!" Joan and Alec rushed to the door. Yes, there stood Felix, thinner, more wizened, more shrunken, than when last they saw him on the quay at Southampton.
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