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"But it was under compulsion my actions that night were not my own but those of others." "Yes, I understand," I said. "But come out into the street. I don't wish to speak before these people. Your padrone knows Italian, no doubt." "Ah! only a very little," he answered, smiling. "Have no fear of him." "But there is Emilio, the cook?"
Jupiter alone could hold his own with his divine better-half, on whom many English ladies model themselves. Emilio set his mistress far too high ever to touch her. A year hence, perhaps, he might not be a victim to this noble error which attacks none but very young or very old men.
Matteo was so gentle and courteous, that he welcomed with extraordinary warmth anyone who arrived in France, not only from his own city of Verona, but from every part of Lombardy. His dearest friend in those regions was Paolo Emilio of Verona, who wrote the history of France in the Latin tongue.
"And the gentleman?" I faltered out. "Don Emilio? As she repeated the last word she turned her head away, and I thought there was a sadness in her manner. I was about to speak, when she continued: "It was her room we have not touched anything." "And where is your cousin now?" "We know not." "There is a mystery," thought I. I pressed the subject no farther. It was nothing to me now.
"I love luxury as I love the arts, as I love a picture by Raphael, a fine horse, a beautiful day, or the Bay of Naples. Emilio," she went on, "have I ever complained here during our days of privation." "You would not have been yourself if you had," replied the old man gravely.
It was set to music of a declamatory style by Emilio del Cavalieri, the author's collaborator in the pastoral plays that were really embryo operas. The title of the piece, "The Representation of the Body and the Soul," indicates the allegorical nature of the subject. Its initial performance occurred at Rome, February, 1600, in the oratory of San Filippo's church, Santa Maria della Vallicella.
Prince Emilio would know the history of their woes, and Marianna told it, making no complaints of God or men. "Madame," said Gambara, as she ended, for he was sober, "we are victims of our own superiority. My music is good. But as soon as music transcends feeling and becomes an idea, only persons of genius should be the hearers, for they alone are capable of responding to it!
In the eyes of the two young men a title without wealth being worthless, Vendramin also informed Emilio, as a far more important fact, of the engagement at the Fenice of the famous tenor Genovese, and the no less famous Signora Tinti.
Detailed bibliography. Bodrero, Emilio "Fascism" in Dictatorship on Its Trial, ed. by Otto Forst de Battaglia, London, 1930. A brief, but significant, statement by a former Rector of the University of Padua and a Secretary of State to Mussolini. Borgese, G.A. Goliath, The March of Fascism, N.Y., 1938. Well written from the point of view of an Italian humanist.
He stopped abruptly, staring at Artois, who said nothing. "Is it not true?" he said. He got up, taking his hat and stick from the floor. "You do not know! Well think! And you will know that it is true. A rivederci, Emilio!" His manner had suddenly become almost calm. He turned away and went towards the door.
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