The Child of Pleasure. Gabriele D'Annunzio
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him, with a look the full significance of which he did not for the first moment understand.
It was a small Death's-head, carved in ivory with extraordinary power and anatomical skill. Each jaw was furnished with a row of diamonds, and two rubies flashed from the deep eye-sockets. On the forehead was engraved, Ruit Hora; and on the occiput Tibi, Hippolyta. It opened like a box, the hinging being almost imperceptible, and the ticking inside lent an indescribable air of life to the diminutive skull. This sepulchral jewel, the offering of some unknown artist to his mistress, had doubtless marked many an hour of rapture, and served as a warning symbol to their amorous souls.
Could a lover wish for anything more exquisite and more suggestive? 'Has she any special reason for recommending this to me?' thought Andrea, all his hopes reviving on the instant. He threw himself into the bidding with a sort of fury. Two or three others bid against him, notably Giannetto Rutolo, who, being in love with Donna Ippolita Albonico, was attracted by the dedication: Tibi, Hippolyta.
Presently Rutolo and Sperelli were left alone in the contest. The bidding rose higher than the actual value of the article, which forced a smile from the auctioneer. At last, vanquished by his adversary's determination, Giannetto Rutolo was silent.
'Going—going—!'
Donna Ippolita's lover, a little pale, cried one last sum. Sperelli named a higher—there was a moment's silence. The auctioneer looked from one to the other, then he raised his hammer and slowly, still looking at the two—'Going—going—gone!'
The Death's-head fell to the Conte d'Ugenta. A murmur ran round the room. A sudden flood of light burst through the windows, lit up the gleaming gold backgrounds of the triptychs, and played over the sorrowfully patient brow of the Siennese Madonna and the glittering steel scales on the Princess di Ferentino's little grey hat.
'When is the goblet coming on?' asked the princess impatiently.
Her friends consulted the catalogue. There was no hope of the goblet for that day. The unusual amount of competition made the sale go slowly. There was still a long list of smaller articles—cameos, medallions, coins. Several antiquaries and Prince Stroganow disputed each piece hotly. The rest felt considerably disappointed. The Duchess of Scerni rose to go.
'Good-bye, Sperelli,' she said. 'I shall see you again this evening—perhaps.'
'Why perhaps?'
'I do not feel well.'
'What is the matter?'
She turned away without replying, and took leave of the others. Many of them followed her example and left with her. The young men were making fun of the 'spectacle manqué.' The Marchesa d'Ateleta laughed, but the princess was evidently thoroughly out of temper. The footmen waiting in the hall called for the carriages as if at the door of a theatre or concert hall.
'Are you not coming on to Laura Miano's?' Francesca asked the duchess.
'No, I am going home.'
She waited on the pavement for her brougham to come up. The rain was passing over; patches of blue were beginning to appear between the great banks of white cloud; a shaft of sunshine made the wet flags glitter. Flooded by this pale rose splendour, her magnificent furs falling in straight symmetrical folds to her feet, Elena was very beautiful. As Andrea caught a glimpse of the inside of her brougham, all cosily lined with white satin like a little boudoir, with its shining silver foot-warmer for the comfort of her small feet, his dream of the preceding evening came back to him—'Oh, to be there with her alone, and feel the warm perfume of her breath mingling with the violets—behind the mist-dimmed windows through which one hardly sees the muddy streets, the gray houses, the dull crowd!'
But she only bowed slightly to him at the door, without even a smile, and the next moment the carriage had flashed away in the direction of the Palazzo Barberini, leaving the young man with a dim sense of depression and heartache.
She only said 'perhaps,' so it was quite possible that she would not be at the Palazzo Farnese that evening. What should he do then? The thought that he might not see her was intolerable; already every hour he passed far from her weighed heavily on his spirits. 'Am I then so deeply in love with her already?' he asked himself. His spirit seemed imprisoned within a circle in which the phantoms of all his sensations in presence of this woman surged and wheeled around him. Suddenly there would emerge from this tangle of memory, with singular precision, some phrase of hers, an inflection of her voice, an attitude, a glance, the seat where they had sat, the finale of the Beethoven sonata, a burst of melody from Mary Dyce, the face of the footman who had held back the portière—anything that happened to have caught his attention at the moment—and these images obscured by their extreme vividness the actual life around him. He pleaded with her; said to her in thought what he would say to her in reality by and by.
Arrived in his own rooms, he ordered tea of his man-servant, installed himself in front of the fire and gave himself up to the fictions of his hope and his desire. He took the little jewelled skull out of its case and examined it carefully. The tiny diamond teeth flashed back at him in the firelight, and the rubies lit up the shadowy orbits. Behind the smooth ivory brow time pulsed unceasingly—Ruit Hora. Who was the artist who had contrived for his Hippolyta so superb and bold a fantasy of Death, at a period too when the masters of enamelling had been wont to ornament with tender idylls the little watches destined to warn Coquette of the time of the rendezvous in the parks of Watteau? The modelling gave evidence of a masterly hand—vigorous and full of admirable style; altogether it was worthy of a fifteenth century artist as forcible as Verrocchio.
'I recommend this clock to your consideration.' Andrea could not help smiling a little at Elena's words uttered in so peculiar a tone after so cold a silence. He was assured that she intended him to put the construction upon her words which he had afterwards done, but then why retire into impenetrable reserve again—why take no further notice of him—what ailed her? Andrea lost himself in a maze of conjecture. Nevertheless, the warm atmosphere of the room, the luxurious chair, the shaded lamp, the fitful gleams of firelight, the aroma of the tea—all these soothing influences combined to mitigate his pain. He went on dreamingly, aimlessly, as if wandering through a fantastic labyrinth. With him reverie sometimes had the effect of opium—it intoxicated him.
'May I take the liberty of reminding the Signor Conte that he is expected at the Casa Doria at seven o'clock,' observed his valet in a subdued and discreet murmur, one of his offices being to jog his master's memory. 'Everything is ready.'
He went into an adjoining octagonal room to dress, the most luxurious and comfortable dressing-room any young man of fashion could possibly desire. On a great Roman sarcophagus, transformed with much taste into a toilet table, were ranged a selection of cambric handkerchiefs, evening gloves, card and cigarette cases, bottles of scent, and five or six fresh gardenias in separate little pale blue china vases—all these frivolous and fragile things on this mass of stone, on which a funeral cortège was sculptured by a masterly hand!
CHAPTER IV
At the Casa Doria, speaking of one thing and another, the Duchess Angelieri remarked—'It seems that Laura Miano and Elena Muti have quarrelled.'
'About Giorgio perhaps?' returned another lady laughing.
'So they say. The story began this summer at Lucerne—'
'But Laura was not at Lucerne,'
'Exactly—but her husband was—'
'I believe it is a pure invention,' broke in the Florentine countess Donna Bianca Dolcebuono—'Giorgio is in Paris now.'
Andrea heard it all in spite of the chattering of the little Contessa Starnina, who sat at his right hand, and never gave him a moment's peace. Bianca Dolcebuono's words did little to ease the smart of his wound. At least, he would have liked to know the whole story. But the Duchess