"I Promessi Sposi," they would say to each other in a matter-of-course way, with an accompanying nod that settled our destination without a loophole of doubt.
In Acquate itself, a tiny but picturesque old village (draped with wistaria from end to end, as if it were en fête), everything was reminiscent and commemorative of the romance that had made its fame. Here was Via Cristoforo; there Via Renzo; while naturally Via Lucia led us up to the ancient grey osteria where the virtuous heroine was born and lived. We went in, of course, and Sir Ralph ordered red wine of the country, to give us an excuse to sit and stare at the coloured lithographs and statuettes of the lovers, and to peep into the really beautiful old kitchen with the ruddy gleams of copper in its dusky shadows, its bright bits of painted china, its pretty window and huge fireplace.
On a shelf close by the fire sat a cat, and I attempted to stroke it, for it looked old enough and important enough to have belonged to Lucia herself. But I might have known that it would not suffer my caresses, for it's nearly always so with foreign cats and dogs, I find. The lack of confidence in their own attractions which they show is as pathetic as that of a neglected wife; they never seem to think of themselves as pets.
Aunt Kathryn would persist in talking of Innominato as "Abominato" (which was after all more appropriate), and the generous display of Lucia's charms in the pictures caused her basely to doubt that most virtuous maiden's genuine merit. "If the girl hadn't worn such dresses, they wouldn't have painted her in them," she argued. "If she did wear them, she was a minx who got no more than she might have expected, prancing about lonely mountain roads in such shameless things. And I don't want a piece of wood from the shutter of her bedroom to take away with me. I should be mortified to tell any ladies in Denver what it was; and what's the good of carting souvenirs of your travels around with you, if you can't tell people about them?"
We got back to our lakeside hotel sooner than we had thought, and the landlord prayed us to see one more of Lecco's great sights. "It is not as if I asked you to go out of your way to look at some fine old ruin or a beautiful view," he pleaded. "You have seen many such on your journey, and you will see many more; but this thing to which I would send you is unique. There is nothing like it anywhere else in the world; and to go will take you five minutes."
This excited Aunt Kathryn's curiosity, but when she heard that "it" was only a wonderful model of the cathedral at Milan, exact in every smallest detail and made by one man, she thought that she would seize the opportunity of lying down while the others went, and be fresh for our start, in an hour's time.
The idea of a model in wood of such a masterpiece as the Milan Cathedral didn't particularly recommend itself to me; but when we had arrived at a curiosity shop, and been ushered into a huge inner room, I suddenly changed my mind, for what I saw there was wonderful—as wonderful in its way as the great Cathedral itself.
It was the father of the man who showed us the model, and owned the shop, who had made the miniature duomo. His name was Giacomo Mattarelli, and he was an extraordinary genius, worthy of a tomb in the Cathedral to the worship of whose beauty he devoted twenty years of his life and sacrificed those which remained.
The story of his self-appointed task struck me as being as marvellous as the task's result, which stood there in the dim room, perfect in proportion and delicately wrought as ivory carved by Chinese experts. I don't know what the others thought, but the tale as told by the artist's son was for me full of pathos and beautiful sentiment.
The man had been a cabinet-maker by trade, but he had money and could gratify his craving for art. The glory of the Milan Cathedral, seen once, became an obsession for him, and he went again and again. At last the idea grew in his mind to express his homage in a perfect copy of the great church which, as he said, "held his heart." There was no train between Milan and Lecco in his day (1840), and he used to walk all those miles to make drawings of the Cathedral. At first he meant to do the work in iron, but iron was too heavy; then he began casting plates in copper, but they were hollow behind, and he could not get the effect he wanted, so after several wasted months he began again with olive wood. Often he would work all night; and no trouble was too much for his inexhaustible patience. Each statue, each gargoyle was copied, first in a drawing, then with the carving tools, and no hand but that of the artist ever touched the work. At the end of twenty-two years it was completed; not a detail missing inside or out; and then when all was done the modeller went blind.