a young man has dined here to pay his court to madame; but not one has succeeded,” said he, emphasizing the word. “La Signora Marianna is an honest woman, monsieur, much too honest, worse luck for her! Men give nothing for nothing nowadays. So the poor soul will die in harness.
“And do you suppose that her husband rewards her for her devotion? Pooh, my lord never gives her a smile! And all their cooking is done at the baker’s; for not only does the wretched man never earn a sou; he spends all his wife can make on instruments which he carves, and lengthens, and shortens, and sets up and takes to pieces again till they produce sounds that will scare a cat; then he is happy. And yet you will find him the mildest, the gentlest of men. And, he is not idle; he is always at it. What is to be said? He is crazy and does not know his business. I have seen him, monsieur, filing and forging his instruments and eating black bread with an appetite that I envied him – I, who have the best table in Paris.
“Yes, Excellenza, in a quarter of an hour you shall know the man I am. I have introduced certain refinements into Italian cookery that will amaze you! Excellenza, I am a Neapolitan – that is to say, a born cook. But of what use is instinct without knowledge? Knowledge! I have spent thirty years in acquiring it, and you see where it has left me. My history is that of every man of talent. My attempts, my experiments, have ruined three restaurants in succession at Naples, Parma, and Rome. To this day, when I am reduced to make a trade of my art, I more often than not give way to my ruling passion. I give these poor refugees some of my choicest dishes. I ruin myself! Folly! you will say? I know it; but how can I help it? Genius carries me away, and I cannot resist concocting a dish which smiles on my fancy.
“And they always know it, the rascals! They know, I can promise you, whether I or my wife has stood over the fire. And what is the consequence? Of sixty-odd customers whom I used to see at my table every day when I first started in this wretched place, I now see twenty on an average, and give them credit for the most part. The Piedmontese, the Savoyards, have deserted, but the connoisseurs, the true Italians, remain. And there is no sacrifice that I would not make for them. I often give them a dinner for five and twenty sous which has cost me double.”
Signore Giardini’s speech had such a full flavor of Neapolitan cunning that the Count was delighted, and could have fancied himself at Gerolamo’s.
“Since that is the case, my good friend,” said he familiarly to the cook, “and since chance and your confidence have let me into the secret of your daily sacrifices, allow me to pay double.”
As he spoke Andrea spun a forty-franc piece on the stove, out of which Giardini solemnly gave him two francs and fifty centimes in change, not without a certain ceremonious mystery that amused him hugely.
“In a few minutes now,” the man added, “you will see your donnina. I will seat you next the husband, and if you wish to stand in his good graces, talk about music. I have invited every one for the evening, poor things. Being New Year’s Day, I am treating the company to a dish in which I believe I have surpassed myself.”
Signor Giardini’s voice was drowned by the noisy greetings of the guests, who streamed in two and two, or one at a time, after the manner of tables-d’hote. Giardini stayed by the Count, playing the showman by telling him who the company were. He tried by his witticisms to bring a smile to the lips of a man who, as his Neapolitan instinct told him, might be a wealthy patron to turn to good account.
“This one,” said he, “is a poor composer who would like to rise from song-writing to opera, and cannot. He blames the managers, music-sellers, – everybody, in fact, but himself, and he has no worse enemy. You can see – what a florid complexion, what self-conceit, how little firmness in his features! he is made to write ballads. The man who is with him and looks like a match-hawker, is a great music celebrity – Gigelmi, the greatest Italian conductor known; but he has gone deaf, and is ending his days in penury, deprived of all that made it tolerable. Ah! here comes our great Ottoboni, the most guileless old fellow on earth; but he is suspected of being the most vindictive of all who are plotting for the regeneration of Italy. I cannot think how they can bear to banish such a good man.”
And here Giardini looked narrowly at the Count, who, feeling himself under inquisition as to his politics, entrenched himself in Italian impassibility.
“A man whose business it is to cook for all comers can have no political opinions, Excellenza,” Giardini went on. “But to see that worthy man, who looks more like a lamb than a lion, everybody would say what I say, were it before the Austrian ambassador himself. Besides, in these times liberty is no longer proscribed; it is going its rounds again. At least, so these good people think,” said he, leaning over to speak in the Count’s ear, “and why should I thwart their hopes? I, for my part, do not hate an absolute government. Excellenza, every man of talent is for depotism!
“Well, though full of genius, Ottoboni takes no end of pains to educate Italy; he writes little books to enlighten the intelligence of the children and the common people, and he smuggles them very cleverly into Italy. He takes immense trouble to reform the moral sense of our luckless country, which, after all, prefers pleasure to freedom, – and perhaps it is right.”
The Count preserved such an impenetrable attitude that the cook could discover nothing of his political views.
“Ottoboni,” he ran on, “is a saint; very kind-hearted; all the refugees are fond of him; for, Excellenza, a liberal may have his virtues. Oho! Here comes a journalist,” said Giardini, as a man came in dressed in the absurd way which used to be attributed to a poet in a garret; his coat was threadbare, his boots split, his hat shiny, and his overcoat deplorably ancient. “Excellenza, that poor man is full of talent, and incorruptibly honest. He was born into the wrong times, for he tells the truth to everybody; no one can endure him. He writes theatrical articles for two small papers, though he is clever enough to work for the great dailies. Poor fellow!
“The rest are not worth mentioning, and Your Excellency will find them out,” he concluded, seeing that on the entrance of the musician’s wife the Count had ceased to listen to him.
On seeing Andrea here, Signora Marianna started visibly and a bright flush tinged her cheeks.
“Here he is!” said Giardini, in an undertone, clutching the Count’s arm and nodding to a tall man. “How pale and grave he is poor man! His hobby has not trotted to his mind to-day, I fancy.”
Andrea’s prepossession for Marianna was crossed by the captivating charm which Gambara could not fail to exert over every genuine artist. The composer was now forty; but although his high brow was bald and lined with a few parallel, but not deep, wrinkles; in spite, too, of hollow temples where the blue veins showed through the smooth, transparent skin, and of the deep sockets in which his black eyes were sunk, with their large lids and light lashes, the lower part of his face made him still look young, so calm was its outline, so soft the modeling. It could be seen at a glance that in this man passion had been curbed to the advantage of the intellect; that the brain alone had grown old in some great struggle.
Andrea shot a swift look at Marianna, who was watching him. And he noted the beautiful Italian head, the exquisite proportion and rich coloring that revealed one of those organizations in which every human power is harmoniously balanced, he sounded the gulf that divided this couple, brought together by fate. Well content with the promise he inferred from this dissimilarity between the husband and wife, he made no attempt to control a liking which ought to have raised a barrier between the fair Marianna and himself. He was already conscious of feeling a sort of respectful pity for this man, whose only joy she was, as he understood the dignified and serene acceptance of ill fortune that was expressed in Gambara’s mild and melancholy gaze.
After expecting to see one of the grotesque figures so often set before us by German novelists and writers of libretti, he beheld a simple, unpretentious man, whose manners and demeanor
