The Autobiography of Mark Twain - Mark Twain (best english books to read .TXT) 📗

told me that she had just returned from a visit to the country palace of a princess, a huge building standing in the midst of a great and beautiful and carefully kept flower garden, the garden in its turn being situated in a great and beautiful private park. She was received by a splendid apparition of the footman species, who ushered her into a lofty and spacious hall richly garnished with statuary, pictures, and other ornaments, fine and costly, and thence down an immensely long corridor which shone with a similar garniture, superb and showy to the last degree; and at the end of this enchanting journey she was delivered into the princess’s bedchamber and received by the princess, who was ailing slightly and in bed. The room was very small, it was without bric-a-brac or prettinesses for the comfort of the eye and spirit, the bedstead was iron, there were two wooden chairs and a small table, and in the corner stood an iron tripod which supported a common white washbowl. The costly glories of the house were all for show; no money had been wasted on its mistress’s comfort. I had my doubts about this story when I first acquired it; I am more credulous now.

A word or two more concerning the furnishings of the Villa di Quarto. The rooms contain an average of four pictures each, say two photographs or engravings and two oil- or watercolor paintings of chromo degree.

High up on the walls of the great entrance hall hang several of those little shiny white cherubs which one associates with the name of Delia Robbia. The walls of this hall are further decorated, or at least relieved, by the usual great frameless oval oil portraits of long-departed aristocrats which one customarily finds thus displayed in all Florentine villas. In the present case the portraits were painted by artists of chromo rank, with the exception of one. As I have had no teaching in art, I cannot decide what is a good picture and what isn’t, according to the established standards; I am obliged to depend on my own crude standards. According to these the picture which I am now considering sets forth a most noble, grave, and beautiful face, faultless in all details and with beautiful and faultless hands; and if it belonged to me I would never take a lesson in art lest the picture lose for me its finished, complete, and satisfying perfection.

We have lived in a Florentine villa before. This was twelve years ago. This was the Villa Viviani, and was pleasantly and commandingly situated on a hill in the suburb of Settignano, overlooking Florence and the great valley. It was secured for us and put in comfortable order by a good friend, Mrs. Ross, whose stately castle was a twelve minutes’ walk away. She still lives there, and had been a help to us more than once since we established relations with the titled owner of the Villa di Quarto. The year spent in the Villa Viviani was something of a contrast to the five months which we have now spent in this ducal barrack. Among my old manuscripts and random and spasmodic diaries I find some account of that pleasantly remembered year, and will make some extracts from the same and introduce them here.

When we were passing through Florence in the spring of ’92 on our way to Germany, the diseased-world’s bathhouse, we began negotiations for a villa, and friends of ours completed them after we were gone. When we got back three or four months later, everything was ready, even to the servants and the dinner. It takes but a sentence to state that, but it makes an indolent person tired to think of the planning and work and trouble that lie concealed in it. For it is less trouble and more satisfaction to bury two families than to select and equip a home for one.

The situation of the villa was perfect. It was three miles from Florence, on the side of a hill. The flowery terrace on which it stood looked down upon sloping olive groves and vineyards; to the right, beyond some hill spurs, was Fiesole, perched upon its steep terraces; in the immediate foreground was the imposing mass of the Ross castle, its walls and turrets rich with the mellow weather stains of forgotten centuries; in the distant plain lay Florence, pink and gray and brown, with the rusty huge dome of the cathedral dominating its center like a captive balloon, and flanked on the right by the smaller bulb of the Medici chapel and on the left by the airy tower of the Palazzo Vecchio; all around the horizon was a billowy rim of lofty blue hills, snowed white with innumerable villas. After nine months of familiarity with this panorama, I still think, as I thought in the beginning, that this is the fairest picture on our planet, the most enchanting to look upon, the most satisfying to the eye and the spirit. To see the sun sink down, drowned on his pink and purple and golden floods, and overwhelm Florence with tides of color that make all the sharp lines dim and faint and turn the solid city to a city of dreams, is a sight to stir the coldest nature and make a sympathetic one drunk with ecstasy.

Sept. 26, ’92.⁠—Arrived in Florence. Got my head shaved. This was a mistake. Moved to the villa in the afternoon. Some of the trunks brought up in the evening by the contadino⁠—if that is his title. He is the man who lives on the farm and takes care of it for the owner, the marquis. The contadino is middle-aged and like the rest of the peasants⁠—that is to say, brown, handsome, good-natured, courteous, and entirely independent without making any offensive show of it. He charged too much for the trunks, I was told. My informant explained that this was customary.

Sept. 27.⁠—The rest of the trunks brought up this