She was to have painted Berner—papa. She had begun to call him thus when his own children started to talk, and also to call her mother mamma. This marked to her mind the change that had taken place in the relations between her and the mother of her brief childhood.
The first part of the time out here, when at last she was freed from the constant strain, was not pleasant. She realized that her every nerve was quivering from the strain, and she thought it impossible ever to regain her youth. From her stay in Florence she remembered only that she had been cold, felt lonely, and been unable to assimilate all that was new around her. Little by little the endless treasure of beauty was revealed to her, and she was seized by a great longing to grasp it and live in it, to be young, to love and be loved. She thought of the first spring days when Cesca and Gunnar took her to Viterbo—of the sunshine on the bare trees and the masses of anemones, violets, and cowslips in the faded grass. Of the steppe-like plain outside the city, with fumes of boiling, strongly smelling sulphur springs wafted through the air, and the ground all round white with curdling lime. The thousands of swift emerald-green lizards in the stone walls, the olive trees in the green meadows, where white butterflies fluttered about. The old city with singing fountains and black mediaeval houses, and the towers in the surrounding wall with moonlight on them. And the yellow, slightly effervescent wine, with a fiery taste from the volcanic soil on which it was grown.
She called her new friends by their names. In the night Francesca made a confession of her young, eventful life, and crept into her bed at last to be comforted, repeating time after time: "Fancy, you being like this! I was always afraid of you at school. I never thought you could be so kind!"
Gunnar was in love with both of them. He was full of fire,
