colour, of posture, and of grouping, which could best be learned by
studying the works of the great early painters.
So Linnet went her way, undeterred by her husband, and educated herself
in general culture at the same time that she received her strict musical
training. She knew Raphael’s Sposalizio as intimately after a while as
she knew her own _châlet_; she gazed on the flowing lines of Luini’s
frescoes till they grew familiar to her eyes as the Stations of the
Cross in the old church at St Valentin. She drank in the cathedral with
an endless joy; she loved its innumerable pinnacles, its thousand
statues in the marble niches: she admired the gloomy antiquity of
mouldering Sant’ Ambrogio, the dim religious aisles of Santa Maria delle
Grazie. Amid surroundings like these, her artistic nature expanded by
degrees as naturally as a bud opens out into a flower before the summer
sunshine. She revelled in the architecture, the pictures, the statuary:
Milan stood to the soul of the peasant-singer as a veritable university.
It was the first time, too, that Linnet had ever found herself in a
bustling, business-like, modern city. The hurry and scurry were as new
as the art to her. The throng of men and women in the crowded streets,
the Piazza, brilliant with the flare of glowing lamps, the great
glass-roofed gallery where the gilded Lombard youth promenaded by night
in twos and threes, or sipped absinthe before the doors of dazzling
cafés: all these were quite fresh, and all these were, in their way,
too, an element of education. There are many who can see no more in
Milan than this: they know it only as the most go-ahead and modernised
of Italian cities. Linnet knew better. To her it was the town of
Leonardo and his disciples, of the great marble pile whose infinite
detail escapes and eludes the most observant eye, of the vast and
stately opera house where _Otello_ and _Carmen_ first unfolded their
wonders of sight and sound to her ecstatic senses. Wiser in her
generation, she accepted it aright as the vestibule and ante-chamber of
artistic Italy.
Public-domain text, read in full here on John Shaqi.
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