in the Cardinal's carriage; never pause now to note the tears and ejaculations of the good, simple-hearted mother . . . see them returned — see the well-known room, venimus ad larem nostrum[1] — see old Gionetta hustling at the supper; and hear Pisani, as he rouses the barbiton from its case, communicating all that has happened to the intelligent Familiar; hark to the mother's merry, low, English laugh. Why, Viola, strange child, sittest thou apart, thy face leaning on thy fair hands, thine eyes fixed on space? Up, rouse thee! Every dimple on the cheek of home must smile to-night.[2]
And a happy reunion it was round that humble table; a feast Lucullus might have envied in his Hall of Apollo, in the dried grapes, and the dainty sardines, and the luxurious polenta, and the old lacrima, a present from the good Cardinal. The barbiton, placed on a chair — a tall high-backed chair — beside the musician, seemed to take a part in the festive meal. Its honest varnished face glowed in the light of the lamp; and there was an impish, sly demureness in its very silence, as its master, between every mouthful, turned to talk to it of something he had forgotten to relate before. The good wife looked on affectionately, and could not eat for joy; but suddenly she rose, and placed on the artist's temples a laurel wreath, which she had woven beforehand in fond anticipation; and Viola, on the
