In her English cart, which she drove herself, Miss Bell had brought over the hills, from the railway station at Florence, the Countess Martin-Belleme and Madame Marmet to her pink-tinted house at Fiesole, which, crowned with a long balustrade, overlooked the incomparable city. The maid followed with the luggage. Choulette, lodged, by Miss Bell’s attention, in the house of a sacristan’s widow, in the shadow of the cathedral of Fiesole, was not expected until dinner. Plain and gentle, wearing short hair, a waistcoat, a man’s shirt on a chest like a boy’s, almost graceful, with small hips, the poetess was doing for her French friends the honors of the house, which reflected the ardent delicacy of her taste. On the walls of the drawing-room were pale Virgins, with long hands, reigning peacefully among angels, patriarchs, and saints in beautiful gilded frames. On a pedestal stood a Magdalena, clothed only with her hair, frightful with thinness and old age, some beggar of the road to Pistoia, burned by the suns and the snows, whom some unknown precursor of Donatello had moulded. And everywhere were Miss Bell’s chosen arms-bells and cymbals. The largest lifted their bronze clappers at the angles of the room; others formed a chain at the foot of the walls. Smaller ones ran along the cornices. There were bells over the hearth, on the cabinets, and on the chairs. The shelves were full of silver and golden bells. There were big bronze bells marked with the Florentine lily; bells of the Renaissance, representing a lady wearing a white gown; bells of the dead, decorated with tears and bones; bells covered with symbolical animals and leaves, which had rung in the churches in the time of St. Louis; table-bells of the seventeenth century, having a statuette for a handle; the flat, clear cow-bells of the Ruth Valley; Hindu bells; Chinese bells formed like cylinders — they had come from all countries and all times, at the magic call of little Miss Bell.
“You look at my speaking arms,” she said to Madame Martin. “I think that all these Misses Bell are pleased to be here, and I should not be astonished if some day they all began to sing together. But you must not admire them all equally. Reserve your purest and most fervent praise for this one.”
And striking with her finger a dark, bare bell which gave a faint sound:
“This one,” she said, “is a holy village-bell of the fifth century. She is a spiritual daughter of Saint Paulin de Nole, who was the first to make the sky sing over our heads. The metal is rare. Soon I will show to you a gentle Florentine, the queen of bells. She is coming. But I bore you, darling, with my babble. And I bore, too, the good Madame Marmet. It is wrong.”
She escorted them to their rooms.
An hour later, Madame Martin, rested, fresh, in a gown of foulard and lace, went on the terrace where Miss Bell was waiting for her. The humid air, warmed by the sun, exhaled the restless sweetness of spring. Therese, resting on the balustrade, bathed her eyes in the light. At her feet, the cypress-trees raised their black distaffs, and the olive-trees looked like sheep on the hills. In the valley, Florence extended its domes, its towers, and the multitudes of its red roofs, through which the Arno showed its undulating line. Beyond were the soft blue hills.
She tried to recognize the Boboli Gardens, where she had walked at her first visit; the Cascine, which she did not like; the Pitti Palace. Then the charming infinity of the sky attracted her. She looked at the forms in the clouds.
After a long silence, Vivian Bell extended her hand toward the horizon.
“Darling, I do not know how to say what I wish. But look, darling, look again. What you see there is unique in the world. Nature is nowhere else so subtle, elegant, and fine. The god who made the hills of Florence was an artist. Oh, he was a jeweller, an engraver, a sculptor, a bronze-founder, and a painter; he was a Florentine. He did nothing else in the world, darling. The rest was made by a hand less delicate, whose work was less perfect. How can you think that that violet hill of San Miniato, so firm and so pure in relief, was made by the author of Mont Blanc? It is not possible. This landscape has the beauty of an antique medal and of a precious painting. It is a perfect and measured work of art. And here is another thing that I do not know how to say, that I can not even understand, but which is a real thing. In this country I feel — and you will feel as I do, darling — half alive and half dead; in a condition which is sad, noble, and very sweet. Look, look again; you will realize the melancholy of those hills that surround Florence, and see a delicious sadness ascend from the land of the dead.”
The sun was low over the horizon. The bright points of the mountain-peaks faded one by one, while the clouds inflamed the sky. Madame Marmet sneezed.
Miss Bell sent for some shawls, and warned the French women that the evenings were fresh and that the night-air was dangerous.
Then suddenly she said:
“Darling, you know Monsieur Jacques Dechartre? Well, he wrote to me that he would be at Florence next week. I am glad Monsieur Jacques Dechartre is to meet you in our city. He will accompany us to the churches and to the museums, and he will be a good guide. He understands beautiful things, because he loves them. And he has an exquisite talent as a sculptor. His figures in medallions are admired more in England than in France. Oh, I am so glad Monsieur Jacques Dechartre and you are to meet at Florence, darling!”
Last updated Monday, December 22, 2014 at 10:50