The phrase “white, green and red” recalls to me the fire-balloons we used to send up from our villa garden, on the summer nights of long ago. We had, for our Italian tutor, an enthusiastic patriot, who had fought in the Italian ranks in ’48, and who was looking forward to shouldering a musket soon again. It afforded him intense gratification to send the national colors floating out over Florence. Our villa was built on a hill-side, commanding a fine view of the Val d’Arno, and of the City of Flowers herself, domed, campaniled, spired. The longer the voyages made by our balloons, the higher rose the spirits of our Signor Vicenzo. He regarded these airy nothings, made by his own hands, of tissue paper and alcohol, as omens of good or ill to his beloved country.
I suppose he was a fair type of his countrymen, intensely dramatic, with a native facility of expression. One notices this facility of expression among all classes. The Italians have an eloquent sign-language of their own, in which they are as proficient as in the language of spoken words. It is charming to see two neighbors communicating with each other across the street, without uttering a syllable, by the means of animated gestures. It seems a natural sequence that they should be a people of artists.
Such long rambles as my sisters and I and our maid Assunta took, starting from the villa! Assunta was the daughter of a neighboring countryman of the better sort, who cultivated a grape vineyard and an olive field, besides keeping a dairy. We had a way of happening by in the evening in time for a glass of warm milk. Assunta’s mother supplied our table with milk and butter daily, moreover; butter made into tiny pats and done up daintily in grape leaves, never salted, by the way; milk put up in flasks cased in straw, such as are also used for the native wine. Was it the unfailing appetite of childhood, or was that milk and butter really superior to any I have ever tasted since? What charming breakfasts recur to me! Semele, as we called our baker’s rolls; a golden circle of butter on its own leaf; great figs bursting with juicy sweetness; milk.
How good those figs used to taste for lunch, too, when we would pay a few crazis for the privilege of helping ourselves to them off the fig-trees in some podere (orchard, vineyard), inclosed in its own stone wall, on which scarlet poppies waved in the golden sunlight, beneath the blue, blue skies. Am I waxing descriptive and dull? Well, dear girls, I wish you could have shared those days with me. Roaming about those hill-sides, my sisters and I peopled them with the creatures of our own imaginations, as well as those of other people’s imaginations, to say nothing of veritable historical characters. We read and re-read Roger’s Italy. Do you know that enchanting book? Can you say by heart, as Millie, Eva and I could, “Ginevra,” and “Luigi,” and “The Brides of Venice”? I wonder if I should like that poetry now? I loved it then. Also, I date my knowledge of Byron to that same epoch. We children devoured the descriptions in “Childe Harold,” and absorbed “The Two Foscari,” which otherwise we would perhaps have never read. Byron was the poet of our fathers and mothers; but in these early days dramatic and narrative poetry was more intelligible than the mysticism of Tennyson and the Brownings, so enchanting to me now.
One evening, some friends who occupied a neighboring villa invited mamma to be present at the reading of a manuscript poem by an American poet, Buchanan Read. I was permitted to go, too, and was fully alive to the dignity of the occasion. Mr. Read was making a reputation rapidly; there was no telling what might be in store for him. The generous hand of brother artists in Florence all cheered him on his way, and accorded to him precisely that kind of sympathetic encouragement which his peculiar nature required. The group of interested, friendly faces in the salon at Villa Allori rises up before me as I write, on the evening when Mr. Read, occupying a central position, read aloud, in his charming, trained voice.
I remember that, in the pauses of the reading, Mr. Powers, who was present, amused one or two children about him by drawing odd little caricatures on a stray bit of note paper, which is, by the way, still in my possession. Doubtless Mr. Powers’ reputation rests upon his statues, not his caricatures; yet these particular ones have an immense value for me, dashed off with a twinkle in the artist’s beautiful dark eyes.
There was also present on this occasion a beautiful young lady, for whom Mr. Read had just written some birthday verses, which he read to us, after having completed the reading of the larger manuscript. Those birthday verses have haunted me ever since, and this, although I cannot recall a word of the more ambitious poem.
Mr. Powers had lived for so many years in Florence that he was by right of that, if by no other right, the patriarch of the American colony there. He and his large family were most intensely American, in spite of their long expatriation. His was emphatically an American home, as completely so as though the Arno and the Appenines had been, instead, the Mississippi and the Alleghanies. This was no doubt due to the fact that Mrs. Powers was preëminently an American wife and mother, large-hearted and warm-hearted. She never forgot the household traditions of her youth. She baked mince-pies and pumpkin-pies at Christmas and Thanksgiving, and dispensed these bounties to her countrymen with a lavish hand. Then, too, the Powers lived in a house, and not in an apartment, or, as we say, on a flat. The children ran up and down-stairs, and in and out their own yard, which lay between the dwelling-house and the studio, just as American children do. And in this genial, wholesome home an artist grew up in the second generation. A son of Mr. Powers is now making name and fame for himself in his father’s profession.
