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Updated: June 20, 2025
The Villa Serbelloni stands on the wooded promontory, and all day long the warm sunshine floods its walls and terraces and glances from the polished leaves of the tropical plants. The villa remains to-day nearly as it was when Napoleon's forces were in Milan and stabling their horses in the monastery of Santa Maria delle Grazia, under the fading Last Supper, by Da Vinci.
It was not easy for them to talk quietly together. They were very rarely alone. Colette gave them the pleasure of her presence more often than they wished. In spite of her eccentricities she was extremely kind and sincerely attached to Grazia and Christophe; but she never dreamed that she could be a nuisance to them.
They express his highest idea of beauty—man created in the image of God, as he testifies in this vault, and in the sonnet ending:— Nè Dio, suo grazia, mi si mostra altrove, Più che’n alcun leggiadro e mortal velo; E quel sol amo, perchè’n quel si specchia. Nor hath God deigned to show himself elsewhere More clearly than in human form sublime Which, since they image Him, alone I love.
He did not see Grazia again for two days. During that time he lived but for the hours he was to spend with her. Once more his efforts to speak to her were doomed to failure. While she was very gentle and kind with him, she could not throw off her reserve.
And yet he must act from his physical desires, his physical will. His true being, his real self, was impotent. In his soul he was dependent, forlorn. He was childish and dependent on the mother. To hear him say, 'Grazia, mamma! would have tormented the mother-soul in any woman living. Such a child crying in the night! And for what?
It was she whose helping hand had come to his aid in the recent campaign against him in the papers. Grazia was in all things correct and had hardly any connection with the world of the Press: but when it came to doing a friend a service, she was capable of a malicious cunning in wheedling the people whom she most disliked.
Colette said she ought first to have lessons in table-manners. Madame Stevens added that Christophe was not the person to go to for that. Grazia was glad to be scolded in Christophe's company. Christophe began to teach her.
She had not forgotten her great friend Christophe. No doubt there was nothing left of the child in whom an innocent love had burned in silence. This new Grazia was a very sensible woman, not at all given to romance. She regarded the exaggerations of her childish tenderness with a gentle irony. And yet she was always moved by the memory of it.
He paid no attention to her, and thought only of Colette. Grazia was envious of her cousin's intimacy with Christophe: but, although it hurt her, in her heart she was glad both for Colette and for Christophe. She thought Colette so superior to herself that it seemed natural to her that she should monopolize attention.
Maria della Grazia in Milan which are proudly displayed are in reality, according to Mr. Russell Sturgis, cleverly painted to simulate the real inlaid wood. Mr. Hamilton Jackson says that these, being by Luini, are intended to be known as paintings, but to imitate intarsia. Intarsia was made also among the monasteries.
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