Opposite the Volterra gate of Monteriano, outside the city, is a very respectable white-washed mud wall, with a coping of red crinkled tiles to keep it from dissolution.It would suggest a gentleman's garden if there was not in its middle a large hole, which grows larger with every rain-storm.
Through the hole is visible, firstly, the iron gate that is intended to close it; secondly, a square piece of ground which, though not quite, mud, is at the same time not exactly grass; and finally, another wall, stone this time, which has a wooden door in the middle and two wooden-shuttered windows each side, and apparently forms the façade of a one-storey house.
This house is bigger than it looks, for it slides for two storeys down the hill behind, and the wooden door, which is always locked, really leads into the attic.The knowing person prefers to follow the precipitous mule-track round the turn of the mud wall till he can take the edifice in the rear.Then--being now on a level with the cellars--he lifts up his head and shouts.If his voice sounds like something light--a letter, for example, or some vegetables, or a bunch of flowers--a basket is let out of the first-floor windows by a string, into which he puts his burdens and departs.But if he sounds like something heavy, such as a log of wood, or a piece of meat, or a visitor, he is interrogated, and then bidden or forbidden to ascend.The ground floor and the upper floor of that battered house are alike deserted, and the inmates keep the central portion, just as in a dying body all life retires to the heart.There is a door at the top of the first flight of stairs, and if the visitor is admitted he will find a welcome which is not necessarily cold.There are several rooms, some dark and mostly stuffy--a reception-room adorned with horsehair chairs, wool-work stools, and a stove that is never lit--German bad taste without German domesticity broods over that room; also a living-room, which insensibly glides into a bedroom when the refining influence of hospitality is absent, and real bedrooms; and last, but not least, the loggia, where you can live day and night if you feel inclined, drinking vermouth and smoking cigarettes, with leagues of olive-trees and vineyards and blue-green hills to watch you.
It was in this house that the brief and inevitable tragedy of Lilia's married life took place.She made Gino buy it for her, because it was there she had first seen him sitting on the mud wall that faced the Volterra gate.She remembered how the evening sun had struck his hair, and how he had smiled down at her, and being both sentimental and unrefined, was determined to have the man and the place together.Things in Italy are cheap for an Italian, and, though he would have preferred a house in the piazza, or better still a house at Siena, or, bliss above bliss, a house at Leghorn, he did as she asked, thinking that perhaps she showed her good taste in preferring so retired an abode.
The house was far too big for them, and there was a general concourse of his relatives to fill it up.His father wished to make it a patriarchal concern, where all the family should have their rooms and meet together for meals, and was perfectly willing to give up the new practice at Poggibonsi and preside.Gino was quite willing too, for he was an affectionate youth who liked a large home-circle, and he told it as a pleasant bit of news to Lilia, who did not attempt to conceal her horror.
At once he was horrified too; saw that the idea was monstrous; abused himself to her for having suggested it; rushed off to tell his father that it was impossible.His father complained that prosperity was already corrupting him and ****** him unsympathetic and hard; his mother cried; his sisters accused him of blocking their social advance.He was apologetic, and even cringing, until they turned on Lilia.Then he turned on them, saying that they could not understand, much less associate with, the English lady who was his wife; that there should be one master in that house--himself.
Lilia praised and petted him on his return, calling him brave and a hero and other endearing epithets.But he was rather blue when his clan left Monteriano in much dignity--a dignity which was not at all impaired by the acceptance of a cheque.They took the cheque not to Poggibonsi, after all, but to Empoli--a lively, dusty town some twenty miles off.There they settled down in comfort, and the sisters said they had been driven to it by Gino.
The cheque was, of course, Lilia's, who was extremely generous, and was quite willing to know anybody so long as she had not to live with them, relations-in-law being on her nerves.She liked nothing better than finding out some obscure and distant connection--there were several of them--and acting the lady bountiful, leaving behind her bewilderment, and too often discontent.Gino wondered how it was that all his people, who had formerly seemed so pleasant, had suddenly become plaintive and disagreeable.He put it down to his lady wife's magnificence, in comparison with which all seemed common.Her money flew apace, in spite of the cheap living.She was even richer than he expected; and he remembered with shame how he had once regretted his inability to accept the thousand lire that Philip Herriton offered him in exchange for her.It would have been a shortsighted bargain.
Lilia enjoyed settling into the house, with nothing to do except give orders to smiling workpeople, and a devoted husband as interpreter.She wrote a jaunty account of her happiness to Mrs.
Herriton, and Harriet answered the letter, saying (1) that all future communications should be addressed to the solicitors; (2) would Lilia return an inlaid box which Harriet had lent her--but not given--to keep handkerchiefs and collars in?
"Look what I am giving up to live with you!" she said to Gino, never omitting to lay stress on her condescension.
He took her to mean the inlaid box, and said that she need not give it up at all.
