第10章

Peppina brings in dell' acqua bollente, and I make the coffee in the little copper coffee-pot we bought in Paris, while Salemina heats the milk over the alcohol-lamp, which is the most precious treasure in her possession.

The butter and eggs are brought every morning before breakfast, and nothing is more delicious than our freshly churned pat of solidified cream, without salt, which is sweeter than honey in the comb. The cows are milked at dawn on the campagna, and the milk is brought into Venice in large cans. In the early morning, when the light is beginning to steal through the shutters, one hears the tinkling of a mule's bell and the rattling of the milk-cans, and, if one runs to the window, may see the contadini, looking, in their sheepskin trousers, like brethren of John the Baptist, driving through the streets and delivering the milk at the vaccari. It is then heated, the cream raised and churned, and the pats of butter, daintily set on green leaves, delivered for a seven-o'clock breakfast.

Finally la colazione is spread on our table by the window. A neat white cloth covers it, and we have gold-rimmed plates and cups of delicate china. There is a pot of honey, an egg a la coque for each, a plate of brown and white bread, on some days a dish of scarlet cherries on a bed of green, on others a mound of luscious berries in their frills; sometimes, too, we have a bowl of tiny wild strawberries that seem to have grown with their faces close pressed to the flowers, so sweet and fragrant are they.

This al fresco morning meal makes a delicious prelude to our comfortable dejeuner a la fourchette at one o'clock, when the Little Genius, if not absorbed in some unusually exacting piece of work, joins us and gives zest to the repast. Her own breakfast, she explains, is a dejeuner a la thumb, the sort enjoyed by the peasant who carves a bit of bread and cheese in his hand, and she promises us a sight, some leisure day, of a certain dejeuner a la toothpick celebrated for the moment among the artists. A mysterious painter, shabby, but of a certain elegance and distinction even in his poverty, comes daily at noon into a well-known restaurant. He buys for five sous a glass of chianti, a roll for one sou, and with stately grace bestows another sou upon the waiter who serves him. These preparations made, he breaks the roll in small bits, and poising them delicately on the point of a wooden toothpick, he dips them in wine before eating them.

"This may be a frugal repast," he has an air of saying, "but it is at least refined, and no man would dare insult me by asking me whether or not I leave the table satisfied."

IV

CASA ROSA, May 20.

One of the pleasantest sights to be noted from our windows at breakfast time is Angelo making ready our private gondola for the day. Angelo himself is not attractive to the eye by reason of the silliest possible hat for a man of forty-five whose hair is slightly grey. It is a white straw sailor, with a turned-up brim, a blue ribbon encircling the crown, and a white elastic under the chin; such a hat as you would expect to see crowning the flaxen curls of mother's darling boy of four.

I love to look at the gondola, with its solemn caracoling like that of a possible water-horse, of which the arched neck is the graceful ferro. This is a strange, weird, beautiful thing when the black gondola sways a little from side to side in the moonlight. Angelo keeps ours polished so that it shines like silver in the morning sun, and he has an exquisite conscientiousness in rubbing every trace of brass about his precious craft. He has a little box under the prow full of bottles and brushes and rags. The cushions are laid on the bank of the canal; the pieces of carpet are taken out, shaken, and brushed, and the narrow strips are laid over the curved wood ends of the gondola to keep the sun from cracking them. The felze, or cabin, is freed of all dust, the tiny four-legged stools and the carved chair are wiped off, and occasionally a thin coat of black paint is needed here and there, and a touching-up of the gold lines which relieve the sombreness. The last thing to be done is to polish the vases and run back into the garden for nosegays, and when these are disposed in their niches on each side of the felze, Angelo waves his infantile hat gaily to us at the window, and smiles his readiness to be off.

On other mornings we watch the loading and unloading of grain.

There are many small boats always in view, their orange sails patched with all sorts of emblems and designs in a still deeper colour, and day before yesterday a large ship appeared at our windows and attached itself to our very doorsteps, much to the wrath of Salemina, who finds the poetry of existence much disturbed under the new conditions. All is life and motion now. The men are stripped naked to the waist, with bright handkerchiefs on their heads, and, in many cases, others tied over their mouths. Each has a thick wisp of short twine strings tucked into his waistband. The bags are weighed by one, who takes out or puts in a shovelful of grain, as the case may be. Then the carrier ties up his bag with one of the twine strings, two other men lift it to his shoulder, while a boy removes a pierced piece of copper from a long wire and gives it to him, this copper being handed in turn to still another man, who apparently keeps the account. This not uninteresting, indeed, but sordid and monotonous operation began before eight yesterday morning and even earlier to-day, obliging Salemina to decline strawberries and eat her breakfast with her back to the window.

This afternoon at four the injured lady departed on a tour in Miss Palett's gondola. Miss Palett is a water-colourist who has lived in Venice for five years and speaks the language "like a native."

(You are familiar with the phrase, and perhaps familiar, too, with the native like whom they speak.)