Nona, little city of domes and belfries and square loggias, all in a cluster behind brown walls; with gates of Roman masonry, stolid Lombard church, a piazza of colonnades and restless poplar trees; of a splayed fountain where the Three Graces, back to back, spurt water from their breasts of bronze—Nona, in our time, is not to be discerned from the railway, although you may see its ranked mulberry-trees and fields of maize, and guess its pleasant seat in the plain well enough. It is about the size of Parma, a cheerful, leisurely place, abounding in shade and deep doorways and cafÉs, having some thirty churches (mostly baroque), a fine Palazzo della Ragione in the principal square, and the remains of a cathedral of the ninth century glooming behind a monstrous faÇade of the seventeenth, all whitewash, cornucopias, and sprawling Apostles. Thus it seems now to the strayed traveller who, breaking his journey at Castel Bolognese, simmers for four hours in an omnibus along with priests, flies, fleas, and old women. The cortÈge from Papal territory saw a vastly different city of it when it approached the gates in the early spring of 1494. The young leafage shimmered like a veil of golden gauze, the poplar buds were pink and brown, the chestnuts had all their candles afire; larks by dozens were abroad in the clear sky. Below the old Rocca del Capitan Vecchio—a grizzled and blind block of masonry on a spur of limestone, which held not a few of Ezzelin's secrets—two miles from Nona, stood a company of boys and girls in white garments, their laps full of flowers. Their shrill song of welcome hailed the riders, and to the same hopeful music they went on. The towers were all standing in those days, the battlements intact; at every gate stood a guard. The Cathedral of the Santi Apostoli had no Apostles; its great front was a cube of unfinished brick; but colonnades ran in all the streets, row after row of beautifully ordered arches; over them were jutting cornices enriched with dancing children, sea monsters, tritons, dolphins, nymphs blowing conches, Nereus, Thetis, and all their sleek familiars, moulded in red clay. The fountain shone, the displayed Graces jetted their crystal store; from every window hung carpets, on every tower a gonfalon, from every church belfry came the riot of bells. The people were massed at the gates, at the windows, on roofs and loggias and balconies—a motley of orange and blue, crimson and green. Soldiers lined the ways, priests with banners were on the steps of their churches. "Evviva, Amilcare! Evviva, Madonna Inglese!" ran like a river of sound from the gates about the streets, until, in the Piazza Grande, where the Signoria waited in the solemn estate of brocade and ermine, the volume of it had the throbbing roll of breakers on a cliff. Thud upon thud came "Evviva!" each with a shock which made pale Molly catch her breath; more than once or twice her eyes swam, and she felt herself wag helpless in the saddle. But Amilcare, snuffing wine, was in his glory, idol of a crowd he despised and meant to rule. Proud he looked and very greatly a ruler, firm-lipped, with a high head, and a flush on his dark cheeks.

At the steps of the Palazzo della Ragione he halted, cap in hand. The trumpeters shrilled for silence, the Secretary of the Republic read a Latin speech; everybody applauded what nobody understood. Amilcare, at the end of it, swung off his horse and ran up the steps. He embraced the orator, embraced the signori one after another; greetings flashed about, tears, laughter, clappings on the back. But he kept his head throughout: it was seen that he wished to present his wife. Present her! Enthusiasm grew frenzied; he had to battle his way down the steps to regain her side. He lifted her lightly down; hand in hand they went up the steps again. Molly excelled herself, was the wonder of the whole city. How she curtsied to their lordships—what a figure she had for that grace—how tall, how supple, and how slim! When she gave her rosy cheek to each in turn, there was a kind of caught sob audible in the crowd. The simplicity of the act brought tears to tender eyes: men laughed or looked haggard, according as the trouble took them; women, more at home with tears, clung to each other as they cried. A marvel all believed her—an angel clean from heaven; the kiss of peace, la bocca della CaritÀ! A young Dominican became inspired; he showed the whites of his eyes, he spumed at the lips, began to mutter, with gurglings in the throat. At last his words broke strangling from him—"O mouth of singular favour! O lips of heavenly dew!" he stuttered, with a finger on high seesawing to the rhythm: "O starry eyes conversant with the aspect of angels!" He dropped down plump in a fit, barely heard at the palace door; but all the square surged with his cry—"O mouth of singular favour! O starry eyes! Evviva Madonna!"

Men and women all told, Molly must have been forty times kissed. Twice forty times would not have sufficed for the candidates who jostled, strained, and prayed between the soldiers' pikes below the steps. It would be difficult to say which sex her pretty artlessness pleased the more: she made the women cry, the old men prophesy, the young men dream dreams. Certainly, there was nobody who thought ill of her for a performance so glaringly counter to Italian ways, whose men kiss each other while they keep their women at home. The thing was so transparent, done in such pure good faith, there was no room for judgment in it. She went among that people as, in these days, a child still might go. To those bullet-headed captains, grim and shaven close; to those painted great ladies, whose bare necks looked the more naked for their jewels; to those cruddled, be-robed old men; to the dapper sons of them; to their stiff-laced daughters—Molly went blushing, smiling, shy, and glad, and to each she gave her fresh cheek and the balm of her English lips. O mouth of singular favour! O starry eyes! She bereft them of compliments by her speechless welcome, overcame policy by having none, led captivity captive. Amilcare might hover behind her with plots, a delighted and forgotten shade: Molly Lovel of Bankside was Duchess of Nona, and might have been Queen of Italy, if all Italy had stood in the Piazza Grande. She was throned at a banquet, escorted home by the Signoria bareheaded; she was serenaded all night by relays of citizens, by straining poets, by all kinds of music. She had not a wink of sleep till morning, nor the faintest idea what it was all about.

There was no withstanding the popular voice; the Nonesi went mad to be a Duchy, with Molly for Duchess. Amilcare might be thrown in. They besieged the Bagnacavallo Cortile; they wrote sonnets and madrigals, and sang them day in, day out. Amilcare, acting with admirable discretion, kept very much to himself; he sent his beautiful wife on to the balcony twice a day to be saluted, and (more sparingly) let her work for him among the higher sort with her lips, her blushes, and her friendly grey eyes. He was humble in the Council, sober beneath the heaped-up honours of the popular voice, stern only with his mercenaries. A fortnight of this swept him to the top of his hopes. A deputation, with a laurel crown and the title of Dux in a casket, waited upon him. He had expected it for a week, and carefully dragooned his Molly.

"I must refuse the thing," he told her, "for your dear sake, my angel. The fatigues, the affairs of a Ruler of State are incredible. I will never let you bear them. The signori may pluck their beards out by the roots. I am resolved." Molly wept to hear him.

When the great morning came—a luminous April day of showers and warm wind—he was as good as his word. Molly, shining with pride in him (herself wearing the day's "uncertain glory"), saw him fold his arms in face of the pompous line of men his seniors, compress his mouth, shake his cropped head. The deputation was much taken aback, the crowd drove hither and thither; she saw head turned to head, guessed at wounds which certainly any one there was incapable of feeling. She, however, felt them, rose up from her chair, laid a hand upon her lord's arm: they saw her plead with him. Oh, lovely sight! with her they too began to plead: "PietÀ di Nona, Signore! PietÀ di noi, Madonna!" She was their graceful choragus; or rather, she, like some slim daughter of the Greeks—Iphigenia or another—voiced the protagonist's part; and they wailed after her, a chorus of elders. Finally, she knelt to him, wound her arms about his hips, put up her entreating face. The comedy was played out. Amilcare showed himself shaken; he stooped to her, lifted her in his arms, embraced her. "O mouth of singular favour!" etc. The convocation broke up in sobs, psalmody, and kisses on the cheek. Amilcare and his wife were led to the broad window and out on to the loggia. There stood Molly in all the glow of her happy toil, quick-breathing, enraptured, laughing and afire. The crown was on her head, by her side her sceptred lord; and below the people cheered and howled. "Udite, citt adini, il vostro Capitano!" cried the heralds. "Duca! duca! Evviva Amilcare, Duca!" cried the throng. Then Amilcare pointed to the crowned girl. "Evviva la Madonna di Nona!" he brayed like a tube of brass. So as Madonna di Nona they knew her to the end. Amilcare was crowned with his laurel wreath in the Santi Apostoli; Te Deum was sung. Nona started on her new career—benevolent despotism tempered by a girl's kisses.