'What are you thinking about?' Andrea asked her almost timidly.
'I was thinking about you,' she replied.
'What were you thinking about me?'
'I was thinking of your past life, of which I know nothing whatever. You have suffered greatly?'
'I have greatly sinned.'
'And loved much?'
'I do not know. Perhaps it was not love that I felt. Perhaps I have yet to learn what love is—really I cannot say.'
She did not answer. They walked on in silence for a little way. To their right, the path was bordered by high laurels, alternating at regular intervals with cypress trees, and in the background, through the fluttering leaves, the sea rippled and laughed, blue as the flower of the flax. On their left ran a kind of parapet like the back of a long stone bench, ornamented throughout its whole length with the Ateleta shield and arms and a griffin alternately, under each of which again was a sculptured mask through whose mouth a slender stream of water fell into a basin below, shaped like a sarcophagus and ornamented with mythological subjects in low relief. There must have been a hundred of these mouths, for the walk was called the avenue of the Hundred Fountains, but many of them were stopped up by time and had ceased to spout, while others did very little. Many of the shields were broken and moss had obliterated the coats of arms; many of the griffins were headless and the figures on the sarcophagi appeared through a veil of moss like fragments of silver work through an old and ragged velvet cover. On the water in the basins—more green and limpid than emerald—maiden-hair waved and quivered, or rose leaves, fallen from the bushes overhead, floated slowly while the surviving waterpipes sent forth a sweet and gurgling music that played over the murmur of the sea like the accompaniment to a melody.
'Do you hear that?' said Donna Maria, standing still to listen, attracted by the charm of the sound. 'That is the music of salt and of sweet waters!'
She stood in the middle of the path, finger on lip, leaning a little towards the fountains, in the attitude of one who listens and fears to be disturbed. Andrea, who was next the parapet, turned and saw her thus against a background of delicate and feathery verdure such as an Umbrian painter would have given to an Annunciation or a Nativity.