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But, somehow or other, Greek and Latin stand still; nothing charms me like Italian. Blanche and I are reading Metastasio, to the great indignation of my father, who calls it "rubbish," and wants to substitute Dante. I have no associations at present with the souls "Che son contenti Nel fuoco;" I am already one of the "beate gente."
"They will all be here this evening, signore," said Amedeo, "for the giuochi di fuoco." "The giuochi di fuoco they will be at the end?" "Si, signore. After the giuochi di fuoco it is all finished." Maurice stifled a sigh. "It is all finished," Amedeo had said. But for him? For him there would be the ride home up the mountain, the arrival upon the terrace before the house of the priest.
"Well," said Jim, when he had finished, "they say a patient waiter is no loser; but I guess it depends a good deal on how you spend your time while you're waiting eh, Perce?" That night, after dark, when the boys were preparing to turn in, Filippo stepped out to the fish-house for some kindling. He came back on the run. "Fuoco!" he panted. The others trooped out hastily.
The sudden act, the rapid transition of thought, the passing expression this he arrests with that vivacity which Vasari has attributed to him, il fuoco Giorgionesco, as he terms it.
But, to bring out the contrast, one may note that, whereas in Italy "fuoco normale" for Siege Artillery was six rounds per gun per hour, in France at this time a British Siege Battery's "ordinary" was thirty rounds per gun per hour.
Earthquakes presage the outburst, loud explosions follow, rifts and bocche del fuoco open in the sides of the mountain; smoke, sand, ashes and scoriae are discharged, the action localizes itself in one or more craters, cinders are thrown up and accumulate around the crater and cone, ultimately lava rises and frequently breaks down one side of the cone where the resistance is least; then the eruption is at an end.
Il fuoco Giorgionesco the Giorgionesque fire was the phrase invented to describe the new wonder he brought into painting. A comparison of Venetian art before Giorgione and after shows instantly how this flame kindled. Not only did Giorgione give artists a liberty they had never enjoyed before, but he enriched their palettes. His colours burned and glowed.
Presto con fuoco Chopin marks the second section. Kullak gives 84 to the quarter, and for the opening 66 to the quarter. He also wisely marks crescendos in the bass at the first thematic development. He prefers the E as does Klindworth nine bars before the return of the presto. At the eighth bar, after this return, Kullak adheres to the E instead of F at the beginning of the bar, treble clef.
The uproar made by the twelve, who had seldom experienced such a windfall, awakened the landlord's wife who entered the room and began to question the roysterers in a very emphatic manner. Going to Boyton, she lifted the rubber from his forehead and turning angrily to men, exclaimed: "Can't you understand? This man has febbre del fuoco."
It is only a stronger enthusiasm, a new intuition, a fresh outburst of emotional vitality, that can supplant the old: 'Cotal rimedio ha questo aspro furore, Tale acqua suole spegner questo fuoco, Come d'asse si trae chiodo con chiodo.
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