A fortnight after the funeral Nino twisted up his moustache and went to London. His father had made no objection; indeed, Zio Giacomo himself found everything exaggeratedly doleful, and Valeria, in her black dress, going about the house with the expression of a hunted cat, annoyed him exceedingly. She was always jumping up in the midst of any conversation, and running out to look for Nancy.

What if FrÄulein happened to be busy with Mrs. Avory or with the servants? said her uncle angrily. Surely there was Edith always with the child, petting her and spoiling her. Valeria need not worry so! But Valeria worried. She paid no attention to Zio Giacomo, never even gave him the promised minestrone freddo on his birthday, and Nino might have ceased to exist so far as she was concerned. She seemed to be always looking at Nancy or looking at Edith. When the two sat happily together, reading or talking, she would call Nancy with a rough strained voice, hurriedly sending the child on some useless errand, or keeping her by her side and making long foolish talk with her. Edith sometimes looked up in surprise when Valeria called the child away from her so suddenly and so sternly; but seeing Valeria's pale and anxious face, then glancing over to Nino, who usually looked bored and absent-minded, Edith thought of lovers' quarrels, and asked no questions.

But there was no lovers' quarrel between Nino and Valeria. In Valeria's terror-stricken heart maternal love had pushed all else aside, and only one thought possessed her—the thought of keeping Nancy out of danger, out of reach of Edith's light breath, out of reach of Edith's tender kisses; while Nino, seeing her with little Nancy on her lap or at her side all day, gradually grew to look upon her in the light of Valeria the mother, and lost sight of her as Valeria the betrothed. A child on its mother's breast forbids and restrains passion.

One evening he took up a paper and improved his English by reading the news. The news interested him. It was on the following day that he twisted up his moustache and went to London. He had dinner at Pagani's. There he met Carlo Fioretti, an old fellow-student of his at Pavia, who was dining with a golden-haired Englishwoman at a table near to his. They invited him to drink coffee and pousse-cafÉ with them, and Fioretti told Nino that he was doctor to the Italian colony in London, and getting on splendidly. And would he join them at the comedy later on? Nino was sorry—he was really desolated!—but he could not. He was going to the Garrick.

"Oh," cried the fair lady, "to be sure! La Villari is playing there to-night, isn't she? Wonderful creature!" Then she shook an arch forefinger at Fioretti. "Why did you not think of taking me to hear her?"

Fioretti promised to take her the next day, and the day after, and every day, and for ever! Then Nino took his leave with much bowing and hand-kissing, and Fioretti accompanied him as far as the door.

"Who is she?" said Nino.

"A lady of title," said Fioretti. "Divorced."

"Deliziosa," said Nino.

"Milionaria," said Fioretti. And having quickly shaken hands with Nino, he hurried back to her.

The seven mourning women in Cossa's tragedy were already chanting their woes when Nino entered the theatre and took his seat in the fourth row of the stalls. His heart opened to the swing and cadence of the Italian words, to the loud sweetness of the Italian voices, to the graceful violence of the Italian gestures. His Latin blood thrilled in understanding and response.

Suddenly Villari was on the stage, and no one else existed. Fervid and lovely, keen and lithe, soon she held in her small, hot hands the hearts of the cool English audience, tightening their nerves, swaying and drawing them into paths of unaccustomed passion. Nino sat still with quick heart-beats, wondering if she would see him.

He remembered the first time that her eyes had met his at the Manzoni in Milan four years ago. She was playing Sappho. He was with his cousin AdÈle and Aunt Carlotta in one of the front rows, and they were laughing at the vehemence of the love-scene in the second act, when suddenly he saw that Villari was looking at him. Yes, at him! She gazed at him long and deliberately, while Jean was sobbing at her feet, and she said Daudet's famous words, "Toi tu ne marchais pas encore, que moi dÉjÀ je roulais dans les bras des hommes," with her deep and steadfast eyes fixed on Nino's face. She had said the words in French in the midst of the Italian play, for she was whimsical and wilful, and did as she pleased. Then she had turned away, and gone on with her part without noticing him any more. Cousin AdÈle had been acid and sarcastic all the evening. The next day—how well he remembered it all!—he had sent Villari flowers, as she intended that he should, and a week after that he had sent her a bracelet, having sold Aunt Carlotta and AdÈle's piano during their absence in order to do so.

Now she was before him once more, fervid and lovely, keen and lithe, and Nino sat motionless, with quick heart-beats, wondering if she would see him.

Suddenly she looked straight at him, with long and deliberate gaze—so long, indeed, that he thought everyone must notice it, and he could hardly breathe for the violence of his rushing veins. When the curtain fell he sent his card to her dressing-room, but she did not receive him, nor did she do so at the end of the play. The next day he sent her flowers, as she had intended that he should, but when he called at her hotel she was out. He sat through nine of her twelve performances, and still she would not see him, for she was thirty-eight and wily, and knew men's hearts. She also knew her own, and had more than once thought that she detected symptoms of what she called a grande passion, a toquade, for this curly-headed, vehement young Nino with the light laugh and the violent eyes. Nunziata Villari dreaded her grand passions. She knew of old how disastrous they were, how unbecoming to her complexion, how ruinous to her affairs, how gnawing during their process, how painful at their end. And she especially dreaded a grand passion for Nino, remembering that he was one who had a nose of putty, and would probably be a fountain of grief. So night after night Nino sat in his stall and watched her, and counted the days that remained before she would go away again. Every night she was different—she was Sappho and Magdalen; she was Norah and Fedora; she was PhÆdra and Desdemona. Every night she was before him, laughing or weeping, loving or hating, dying delicate deaths. She was terrible and sweet, fierce and alluring; she embraced and she killed; she was resplendent Purity, she was emblazoned Sin; she was das Ewig Weibliche, the immortal mistress of all lovers, the ever-desiring and the ever-desired.

When, after her tenth performance, he was allowed to see her in her dressing-room, he could not speak. Without a word of greeting, without responding to her smile, he dropped into a chair and hid his face in his hands, to the great amusement of Marietta the maid.

But Nunziata Villari was not amused. She suddenly realized that she had been acting for this Nino every night, that especially for him she had sobbed and raved, she had laughed and languished; and as she saw him sitting there with his face in his hands, she felt in her heart the intermittent throb that she recognized and dreaded. It was the grande passion; it was the toquade. "Ça y est!" she said. "Now I am in love again."

And she was.