Diary fiction; England -- Social life and customs -- 19th century -- Fiction; Mystery fiction; Short stories, English
Arriving in front of the palace, the steward found workmen engaged in
planning the external decorations and illuminations for the night of the
ball. A little crowd had already assembled to see the ladders raised
and the scaffoldings put up. He observed among them, standing near the
outskirts of the throng, a lady who attracted his attention (he was
an ardent admirer of the fair sex) by the beauty and symmetry of
her figure. While he lingered for a moment to look at her, a shaggy
poodle-dog (licking his chops, as if he had just had something to eat)
trotted by, stopped suddenly close to the lady, sniffed suspiciously
for an instant, and then began to growl at her without the slightest
apparent provocation. The steward advancing politely with his stick to
drive the dog away, saw the lady start, and heard her exclaim to herself
amazedly:
“You here, you beast! Can Nanina have come back to Pisa?”
This last exclamation gave the steward, as a gallant man, an excuse for
speaking to the elegant stranger.
“Excuse me, madam,” he said, “but I heard you mention the name of
Nanina. May I ask whether you mean a pretty little work-girl who lives
near the Campo Santo?”
“The same,” said the lady, looking very much surprised and interested
immediately.
“It may be a gratification to you, madam, to know that she has just
returned to Pisa,” continued the steward, politely; “and, moreover, that
she is in a fair way to rise in the world. I have just engaged her to
wait at the marquis’s grand ball, and I need hardly say, under those
circumstances, that if she plays her cards properly her fortune is
made.”
The lady bowed, looked at her informant very intently and thoughtfully
for a moment, then suddenly walked away without uttering a word.
“A curious woman,” thought the steward, entering the palace. “I must ask
Number Thirty about her to-morrow.”
CHAPTER II.
The death of Maddalena d’Ascoli produced a complete change in the lives
of her father and her uncle. After the first shock of the bereavement
was over, Luca Lomi declared that it would be impossible for him to work
in his studio again--for some time to come at least--after the death of
the beloved daughter, with whom every corner of it was now so sadly and
closely associated. He accordingly accepted an engagement to assist in
restoring several newly discovered works of ancient sculpture at Naples,
and set forth for that city, leaving the care of his work-rooms at Pisa
entirely to his brother.
Public-domain text, read in full here on John Shaqi.
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