A modern trio in an old townHaviland-Taylor, Katharine
General
A modern trio in an old town
Haviland-Taylor, Katharine
Americans -- Italy -- Fiction; Florence (Italy) -- Fiction; Young women -- Fiction
We found Mr. Wake and Viola across the big Piazza, loitering in the
shade, and Mr. Wake said that it was too hot for anything but his own
shady garden and iced tea, and so we left the funny, pretty little
town and started down a narrow roadway that ran between high walls, or
slopes that were covered with olive trees.
Every color was accentuated. . . . Houses that were faint pink,
seemed salmon; greens almost clashed; the dust of the roadway was a
vivid yellow, and down in the hollow below us, Florence spread out, a
steaming, gleaming mass of tightly packed palaces, shining spires, and
gleaming towers.
“Ah, Giotto,” said Mr. Wake, as we halted at a bend in the way and
looked down at our own city. He said this, for he loved the tower that
Giotto had planned and had seen half built before his death. “Ever
hear,” said Mr. Wake, “of how the little Giotto was found, and how he
was helped to become the great artist that he was?”
I hadn’t, and I said so. Viola thought she had, but she said she forgot
so _many_ things, when Mr. Wake questioned her a little.
“Well,” he said, “since Viola has forgotten, and Jane frankly admits
she doesn’t know, indulge an old man in his love of the telling of
picturesque stories.”
“I _love_ them,” I said, for I really did. His stories were about
people who had lived and died, and they never had Irish or Hebrew or
Swedish people in them to make him try a dialect. I don’t care so very
much for that sort. And Mr. Wake didn’t even _try_ to be funny, which
is unusual in a man.
“Well,” he said, as he took off his hat and mopped his brow, “one day
when Cimabue, who was a great artist, and a fine chap, was strolling
through the country he came to a clearing in which a little boy was
tending sheep. And perhaps because he was in an ill humor--probably
thinking all art was going to the bad, for he was a critic too,
you know, and critics have thought that since the beginning of
paint--anyway, I feel that an ill humor set upon him, and that he was,
because of it, minded to stop, and divert himself by talking a bit to a
little country lad.
Public-domain text, read in full here on John Shaqi.
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