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At the Biscione, indeed, she had found little change—only the pathos of a survival. The old landlord had died, and the old landlady was ill in bed, but the antique spirit had not yet departed. On the timbered front was still painted the dragon swallowing the child—the arms of the Milanese Visconti, from whom the Cantùs might well be descended. For there was something about the little hotel which compelled a sympathetic guest to believe, for a time at all events, in aristocracy. The great manner, only to be obtained without effort, ruled throughout. In each bedroom were three or four beautiful things—a little piece of silk tapestry, a fragment of rococo carving, some blue tiles, framed and hung upon the whitewashed wall. There were pictures in the sitting-rooms and on the stairs—eighteenth century pictures in the style of Carlo Dolci and the Caracci—a blue robed Mater Dolorosa, a fluttering saint, a magnanimous Alexander with a receding chin. A debased style—so the superior person and the textbook say. Yet, at times, it may have more freshness and significance than a newly purchased Fra Angelico. Miss Raby, who had visited dukes in their residences without a perceptible tremor, felt herself blatant and modern when she entered the Albergo Biscione. The most trivial things—the sofa cushions, the table cloths, the cases for the pillows—though they might be made of poor material and be aesthetically incorrect, inspired her with reverence and humility. Through this cleanly, gracious dwelling there had once moved Signor Cantù with his china-bowled pipe, Signora Cantù in her snuff-coloured shawl, and Bartolommeo Cantù, now proprietor of the Grand Hôtel des Alpes.

She sat down to breakfast next morning in a mood which she tried to attribute to her bad night and her increasing age. Never, she thought, had she seen people more unattractive and more unworthy than her fellow guests. A black-browed woman was holding forth on patriotism and the duty of English tourists to present an undivided front to foreign nations. Another woman kept up a feeble lament, like a dribbling tap which never gathers flow yet never quite ceases, complaining of the food, the charges, the noise, the clouds, the dust. She liked coming here herself, she said; but she hardly liked to recommend it to her friends: it was the kind of hotel one felt like that about. Males were rare, and in great demand; a young one was describing, amid fits of laughter, the steps he had taken to astonish the natives.

Miss Raby was sitting opposite the famous fresco, which formed the only decoration of the room. It had been discovered during some repairs; and, though the surface had been injured in places, the colours were still bright. Signora Cantù attributed it now to Titian, now to Giotto, and declared that no one could interpret its meaning; professors and artists had puzzled themselves in vain. This she said because it pleased her to say it; the meaning was perfectly clear, and had been frequently explained to her. Those four figures were sibyls, holding prophecies of the Nativity. It was uncertain for what original reason they had been painted high up in the mountains, at the extreme boundary of Italian art. Now, at all events, they were an invaluable source of conversation; and many an acquaintance had been opened, and argument averted, by their timely presence on the wall.

"Aren’t those saints cunning!" said an American lady, following Miss Raby’s glance.

The lady’s father muttered something about superstition. They were a lugubrious couple, lately returned from the Holy Land, where they had been cheated shamefully, and their attitude towards religion had suffered in consequence.