the chorus (as it was twice repeated), with a voice so exquisitely attuned, and so rich in its deep power, that it had awakened the admiration even of the serenaders themselves.
"Does not that gentleman belong to your party?" De Montaigne asked of the Milanese.
"No, Signor, we know him not," was the answer; "his boat came unawares upon us as we were singing."
While this question and answer were going on, the young man had quitted his station, and his oars cut the glassy surface of the lake, just before the place where De Montaigne stood. With the courtesy of his country, the Frenchman lifted his hat; and, by his gesture, arrested the eye and oar of the solitary rower. "Will you honour us," he said, "by joining our little party?"
"It is a pleasure I covet too much to refuse," replied the boatman, with a slight foreign accent, and in another moment he was on shore. He was one of remarkable appearance. His long hair floated with a careless grace over a brow more calm and thoughtful than became his years; his manner was unusually quiet and self-collected, and not without a certain stateliness, rendered more striking by the height of his stature, a lordly contour of feature, and a serene but settled expression of melancholy in his eyes and smile. "You will easily believe," said he, "that, cold as my countrymen are esteemed (for you must have discovered already that I am an Englishman), I could not but share in the enthusiasm of those about me, when loitering near the very ground sacred to the inspiration. For the rest, I am residing for the present in yonder villa, opposite to your own; my name is Maltravers, and I am enchanted to think that I am no longer a personal stranger to one whose fame has already reached me." Madame de Montaigne was flattered by something in the manner and tone of the Englishman, which said a great deal more than his words; and in a few minutes, beneath the influence of the happy continental ease, the whole party seemed as if they had known each other for years. Wines, and fruits, and other simple and unpretending refreshments, were brought out and ranged on a rude table upon the grass, round which the guests seated themselves with their host and hostess, and the clear moon shone over them, and the lake slept below in silver. It was a scene for a Boccaccio or a Claude.
The conversation naturally fell upon music; it is almost the only thing which Italians in general can be said to know—and even that knowledge comes to them, like Dogberry's reading and writing, by nature—for of music, as an /art/, the unprofessional amateurs know but little. As vain and arrogant of the last wreck of their national genius as the Romans of old were of the empire of all arts and arms, they look upon the harmonies of other lands as barbarous; nor can they appreciate or understand appreciation of the mighty German music, which is the proper minstrelsy of a nation of men—a music of philosophy, of heroism, of the intellect and the imagination; beside which, the strains of modern Italy are indeed effeminate, fantastic, and artificially feeble. Rossini is the Canova of music, with much of the pretty, with nothing of the grand!
The little party talked, however, of music, with an animation and gusto that charmed the melancholy Maltravers, who for weeks had known no companion save his own thoughts, and with whom, at all times, enthusiasm for any art found a ready sympathy. He listened attentively, but said little; and from time to time, whenever the conversation flagged, amused himself by examining his companions. The six Milanese had nothing remarkable in their countenances or in their talk; they possessed the characteristic energy and volubility of their countrymen, with something of the masculine dignity which distinguishes the Lombard from the Southern, and a little of the French polish, which the inhabitants of Milan seldom fail to contract. Their rank was evidently that of the middle class; for Milan has a middle class, and one which promises great results hereafter. But they were noways distinguished from a thousand other Milanese whom Maltravers had met with in the walks and cafes of their noble city. The host was somewhat more interesting. He was a tall, handsome man, of about eight-and-forty, with a high forehead, and features strongly impressed with the sober character of thought. He had but little of the French vivacity in his manner; and without looking at his countenance, you would still have felt insensibly that he was the eldest of the party. His wife was at least twenty years younger than himself, mirthful and playful as a child, but with a certain feminine and fascinating softness in her unrestrained gestures and sparkling gaiety, which seemed to subdue her natural joyousness into the form and method of conventional elegance. Dark hair carelessly arranged, an open forehead, large black laughing eyes, a small straight nose, a complexion just relieved from the olive by an evanescent, yet perpetually recurring blush; a round dimpled cheek, an exquisitely-shaped mouth with small pearly teeth, and a light and delicate figure a little below the ordinary standard, completed the picture of Madame de Montaigne.
"Well," said Signor Tirabaloschi, the most loquacious and sentimental of the guests, filling his glass, "these are hours to think of for the rest of life. But we cannot hope the Signora will long remember what we never can forget. Paris, says the French proverb, /est le paradis des femmes/: and in Paradise, I take it for granted, we recollect very little of what happened on earth."
"Oh," said Madame de Montaigne, with a pretty musical laugh, "in Paris it is the rage to despise the frivolous life of cities, and to affect /des sentimens romanesques/. This is precisely the scene which our fine ladies and fine writers would die to talk of and to describe. Is it not so, /mon ami/?" and she turned affectionately to De Montaigne.
"True," replied he; "but you are not worthy of such a scene—you laugh at sentiment and romance."
"Only at French sentiment and the romance of the Chaussee d'Antin. You English," she continued, shaking her head at Maltravers, "have spoiled and corrupted us; we are not content to imitate you, we must excel you; we out-horror horror, and rush from the extravagant into the frantic!"
"The ferment of the new school is, perhaps, better than the stagnation of the old," said Maltravers. "Yet even you," addressing himself to the Italians, "who first in Petrarch, in Tasso, and in Ariosto, set to Europe the example of the Sentimental and the Romantic; who built among the very ruins of the classic school, amidst its Corinthian columns and sweeping arches, the spires and battlements of the Gothic—even you are deserting your old models and guiding literature into newer and wilder paths. 'Tis the way of the world—eternal progress is eternal change."
"Very possibly," said Signor Tirabaloschi, who understood nothing of what was said. "Nay, it is extremely profound; on reflection, it is beautiful—superb! you English are so—so—in short, it is admirable. Ugo Foscolo is a great genius—so is Monti; and as for Rossini,—you know his last opera—/cosa stupenda/!"
Madame de Montaigne glanced at Maltravers, clapped her little hands, and laughed outright. Maltravers caught the contagion, and laughed also. But he hastened to repair the pedantic error he had committed of talking over the heads of the company. He took up the guitar, which, among their musical instruments, the serenaders had brought, and after touching its chords for a few moments, said: "After all, Madame, in your society, and with this moonlit lake before us, we feel as if music were our best medium of conversation. Let us prevail upon these gentlemen to delight us once more."
"You forestall what I was going to ask," said the ex-singer; and Maltravers offered the guitar to Tirabaloschi, who was in fact dying to exhibit his powers again. He took the instrument with a slight grimace of modesty, and then saying to Madame de Montaigne, "There is a song composed by a young friend of mine, which is much admired by the ladies; though to me it seems a little too sentimental," sang the following stanzas (as good singers are wont to do) with as much feeling as if he could understand them!
When stars are in the quiet skies,
Then most I pine for thee;
Bend on me, then, thy tender eyes!
As stars look on the sea!
For thoughts, like waves that glide by night,
Are
