The Wheat Princess. Джин Уэбстер

Wheat Princess

      PROLOGUE

      If you leave the city by the Porta Maggiore and take the Via Prænestina, which leads east into the Sabine hills, at some thirty-six kilometers’ distance from Rome you will pass on your left a grey-walled village climbing up the hillside. This is Palestrina, the old Roman Præneste; and a short distance beyond—also on the left—you will find branching off from the straight Roman highway a steep mountain road, which, if you stick to it long enough, will take you, after many windings, to Castel Madama and Tivoli.

      Several kilometers along this road you will see shooting up from a bare crag above you a little stone hamlet crowned by the ruins of a mediaeval fortress. The town—Castel Vivalanti—was built in the days when a stronghold was more to be thought of than a water-supply, and its people, from habit or love, or perhaps sheer necessity, have lived on there ever since, going down in the morning to their work in the plain and toiling up at night to their homes on the hill. So steep is its site that the doorway of one house looks down on the roof of the house below, and its narrow stone streets are in reality flights of stairs. The only approach is from the front, by a road which winds and unwinds like a serpent and leads at last to the Porta della Luna, through which all of the traffic enters the town. The gate is ornamented with the crest of the Vivalanti—a phoenix rising out of the flame, supported by a heavy machicolated top, from which, in the old days, stones and burning oil might be dropped upon the heads of the unwelcome guests.

      The town is a picturesque little affair—it would be hard to find a place more so in the Sabine villages, it is very, very poor. In the march of the centuries it has fallen out of step and been left far behind; to look at it, one would scarcely dream that on the clear days the walls and towers of modern Rome are in sight on the horizon. But in its time Castel Vivalanti was not insignificant. This little hamlet has entertained history within its walls. It has bodily outfaced robber barons and papal troops. It has been besieged and conquered, and, alas, betrayed—and that by its own prince. Twice has it been razed to the ground and twice rebuilt. In one way or another, though, it has weathered the centuries, and it stands to-day grey and forlorn, clustering about the walls of its donjon and keep.

      Castel Vivalanti, as in the middle ages, still gives the title to a Roman prince. The house of Vivalanti was powerful in its day, and the princes may often be met with—not always to their credit—in the history of the Papal States. They were oftener at war than at peace with the holy see, and there is the story of one pope who spent four weary months watching the view from a very small window in Vivalanti’s donjon. But, in spite of their unholy quarrels, they were at times devout enough, and twice a cardinal’s hat has been worn in the family. The house of late years has dwindled somewhat, both in fortune and importance; but, nevertheless, Vivalanti is a name which is still spoken with respect among the old nobles of Rome.

      The lower slopes of the hill on which the village stands are well wooded and green with stone-pines and cypresses, olive orchards and vineyards. Here the princes built their villas when the wars with the popes were safely at an end and they could risk coming down from their stronghold on the mountain. The old villa was built about a mile below the town, and the gardens were laid out in terraces and parterres along the slope of the hill. It has long been in ruin, but its foundations still stand, and the plan of the gardens may easily be traced. You will see the entrance at the left of the road—a massive stone gateway topped with moss-covered urns and a double row of cone-shaped cypresses bordering a once stately avenue now grown over with weeds. If you pause for a moment—and you cannot help doing so—you will see, between the portals at the end of the avenue, some crumbling arches, and even, if your eyes are good, the fountain itself.

      Any contadino that you meet on the road will tell you the story of the old Villa Vivalanti and the ‘Bad Prince’ who was (by the grace of God) murdered two centuries ago. He will tell you—a story not uncommon in Italy—of storehouses bursting with grain while the peasants were starving, and of how, one moonlight night, as the prince was strolling on the terrace contentedly pondering his wickednesses of the day, a peasant from his own village up on the mountain, creeping behind him, quiet as a cat, stabbed him in the back and dropped his body in the fountain. He will tell you how the light from the burning villa was seen as far as Rocca di Papa in the Alban hills; and he will add, with a laugh and a shrug, that some people say when the moon is full the old prince comes back and sits on the edge of the fountain and thinks of his sins, but that, for himself, he thinks it an old woman’s tale. Whereupon he will cast a quick glance over his shoulder at the dark shadow of the cypresses and covertly cross himself as he wishes you, ‘A revederla.’

      You cannot wonder that the young prince (two centuries ago) did not build his new villa on the site of the old; for even had he, like the brave contadino, cared nothing for ghosts, still it was scarcely a hallowed spot, and lovers would not care to stroll by the fountain. So it happens that you must travel some distance further along the same road before you reach the gates of the new villa, built anno domini 1693, in the pontificate of his Holiness Innocent XII. Here you will find no gloomy cypresses: the approach is bordered by spreading plane-trees. The villa itself is a rambling affair, and, though slightly time-worn, is still decidedly imposing, with its various wings, its balconies and loggia and marble terrace.

      The new villa—for such one must call it—faces west and north. On the west it looks down over olive orchards and vineyards to the Roman Campagna, with the dome of St. Peter’s a white speck in the distance, and, beyond it, to a narrow, shining ribbon of sea. On the north it looks up to the Sabine mountains, with the height of Soracte rising like an island on the horizon. For the rest, it is surrounded by laurel and ilex groves with long shady walks and leafy arbors, with fountains and cascades and broken statues all laid out in the stately formality of the seventeenth century. But the trees are no longer so carefully trimmed as they were a century ago; the sun rarely shines in these green alleys, and the nightingales sing all day. Through every season, but especially in the springtime, the garden-borders are glowing with colour. Hedges of roses, oleanders and golden laburnum, scarlet pomegranate blossoms and red and white camellias, marguerites and lilies and purple irises, bloom together in flaming profusion. And twice a year, in the spring and the autumn, the soft yellow walls of the villa are covered with lavender wistaria and pink climbing roses, and every breeze is filled with their fragrance.

      It is a spot in which to dream of old Italy, of cardinals and pages and gorgeous lackeys, of gallant courtiers and beautiful ladies, of Romeos and Juliets trailing back and forth over the marble terrace and making love under the Italian moon. But if there have been lovers, as is doubtless the case, there have also been haters among the Vivalanti, and you may read of more than one prince murdered by hands other than those of his peasants. The walls of the new villa, in the course of their two hundred years, have looked down on their full share of tragedies, and the Vivalanti annals are grim reading withal.

      And now, having pursued the Vivalanti so far, you may possibly be disappointed to hear that the story has nothing to do with them. But if you are interested in learning more of the family you can find his Excellency Anastasio di Vivalanti, the present prince and the last of the line, any afternoon during the season in the casino at Monte Carlo. He is a slight young man with a dark, sallow face and many fine lines under his eyes.

      Then why, you may ask, if we are not concerned with the Vivalanti, have we lingered so long in their garden? Ah—but the garden does concern us, though the young prince may not; and it is a pleasant spot, you must acknowledge, in which to linger. The people with whom we are concerned are (I hesitate to say it for fear of destroying the glamour) an American family. Yes, it is best to confess it boldly—are American millionaires. It is out—the worst is told! But why, may I ask in my turn, is there anything so inherently distressing in the idea of an American family (of millionaires) spending the summer in a seventeenth-century Italian villa up in the Sabine hills—especially when the rightful heir prefers trente-et-un at Monte Carlo? Must they of necessity spoil the romance? They are human, and have their passions like the rest of us; and one of them at least is young, and men have called her beautiful—yes, in this very garden.

      CHAPTER I

      It was late and the studio was already well filled when two new-comers were ushered into the room—one a woman still almost young, and still (in a kindly light) beautiful; the other a girl emphatically young, her youth