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Massimilla Doni

Chapter 4: ADDENDUM
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About This Book

The story depicts a waning Venetian aristocratic milieu and a young patrician whose romantic life and loyalties are entwined with intense reflections on music and opera. Lush descriptions of palaces, gardens, and theatrical performances alternate with analytical passages about musical genius, taste, and the spiritual effects of melody. A duchess's salon and an admired female figure anchor personal intrigues that highlight tensions between social decline, fashionable appearances, and sincere aesthetic devotion. Throughout, the narrative probes how art and sensual longing reshape relationships and moral choices, celebrating musical beauty while lamenting the fragility of inherited prestige.

The Duchess was expecting an infant.

The Peris, the naiads, the fairies, the sylphs of ancient legend, the Muses of Greece, the Marble Virgins of the Certosa at Pavia, the Day and Night of Michael Angelo, the little Angels which Bellini was the first to put at the foot of his Church pictures, and which Raphael painted so divinely in his Virgin with the Donor, and the Madonna who shivers at Dresden, the lovely Maidens by Orcagna in the Church of San-Michele, at Florence, the celestial choir round the tomb in Saint-Sebaldus, at Nuremberg, the Virgins of the Duomo, at Milan, the whole population of a hundred Gothic Cathedrals, all the race of beings who burst their mould to visit you, great imaginative artists—all these angelic and disembodied maidens gathered round Massimilla’s bed, and wept!

PARIS, May 25th, 1839.






ADDENDUM

The following personages appear in other stories of the Human Comedy.

     Cane, Marco-Facino
       Facino Cane

     Tinti, Clarina
       Albert Savarus

     Varese, Emilio Memmi, Prince of
       Gambara

     Varese, Princess of
       Gambara

     Vendramini, Marco
       Facino Cane

     Victorine
       Lost Illusions
       Letters of Two Brides
       Gaudissart II