garden and, at the exit, waved a greeting to the keeper of the gate, who nodded to me from her gloomy cabin. Across the Ponte Nuovo and by way of the Via Nizza and the Via Stelle I walked down to the Piazza Bra. Entering the arena, I suddenly had a sense of being entangled in some dark web of intrigue. The arena was deserted but for a group of late-season excursionists to whom an aged cicerone was describing the unique qualities of this monumental theatre in a voice grown thin and cracked. I climbed to the topmost tiers and looked down at the group, which now appeared very small. The old man, who could not have been more than four feet, was wearing a jacket far too big for him, and, since he was hunchbacked and walked with a stoop, the front hem hung down to the ground. With a remarkable clarity, I heard him say, more clearly perhaps than those who stood around him, that in the arena one could discern, grazie a un'acustica perfetta, l'assolo più impalpabile di un violino, la mezza voce più eterea di un soprano, il gemito più intimo di una Mimi morente sulla scena. The excursionists were not greatly impressed by the enthusiasm for architecture and opera evinced by their misshapen guide, who continued to add this or that point to his account as he moved towards the exit, pausing every now and then as he turned to the group, which had also stopped, and raising his right forefinger like a tiny schoolmaster confronting a pack of children taller by a head than himself. By now the evening light came in very low over the arena, and for a while after the old man and his flock had left the stage I sat on alone, surrounded by the reddish shimmer of the marble. At least I thought I was alone, but as time went on I became aware of two figures in the deep shadow on the other side of the arena. They were without a doubt the same two young men who had kept their eyes on me that morning at the station in Venice. Like two watchmen they remained motionless at their posts until the sunlight had all but faded. Then they stood up, and I had the impression that they bowed to each other before descending from the tiers and vanishing in the darkness of the exit. At first I could not move from the spot, so ominous did these probably quite coincidental encounters appear to me. I could already see myself sitting in the arena all night, paralysed by fear and the cold. I had to muster all my rational powers before at length I was able to get up and make my way to the exit. When I was almost there I had a compulsive vision of an arrow whistling through the grey air, about to pierce my left shoulderblade and, with a distinctive, sickening sound, penetrate my heart.
Over the days that followed I was occupied more or less exclusively with my study of Pisanello, on whose account I had in fact decided to travel to Verona. It is many years now since the paintings of Pisanello instilled in me the desire to forfeit everything except my sense of vision. What appealed to me was not only the highly developed realism of his art, extraordinary for the time, but also the way in which he succeeded in creating the effect of the real, without suggesting a depth dimension, upon an essentially flat surface, in which every feature, the principals and the extras alike, the birds in the sky, the green forest and every single leaf of it, are all granted an equal and undiminished right to exist. It was this long-standing affection for Pisanello which took me once more to the Chiesa Sant'Anastasia to look at the fresco which he had painted over the entrance to the Pellegrini chapel in the year 1435. The Pellegrini chapel, in the left transept, is no longer what it once was. The archway has been closed up with boards of wood that have been painted brown in a careless manner; and there behind a door the verger has her retreat, or perhaps even the room in which she lives. At all events, it was into that room that the verger, a woebegone woman who had well-nigh faded away from long years of silence and solitude, disappeared without a word after she had unlocked the heavy iron-studded main door at a little past four o'clock and had led me, the sole visitor to the church, down the nave, wraithlike and somewhat unsteady on her feet. During the time I spent looking at the fresco she reappeared at regular intervals, as if she were making a perpetual circuit, venturing a little way off into the darkness, only to return again, as she completed her orbit, into her snug. Very little daylight enters the transept of Sant' Anastasia. Even on the brightest of afternoons, the profoundest gloom prevails. Pisanello's painting over the archway of the former chapel languishes deep in the shadows, but by dropping a thousand-lire coin into a metal box it can be illuminated for a certain period which can sometimes seem very long and sometimes extremely short. Then one sees St George setting off to fight the dragon, taking his leave of the principessa. All that remains in the left half of the painting is the somewhat faded monster and two as yet flightless young. Bones and skeletons of animals and humans sacrificed to placate the dragon lie strewn around. The vacancy into which the fragment dissolves still conveys something of the terror which, long ago, must have filled the people of the Palestinian city of Lydda, according to the legend. The right portion of the fresco, the other principal part, is almost completely preserved. A landscape of a more northerly character rises (the word is suggested by the nature of the depiction) into a blue sky. A ship with billowing sails, making headway on an inlet, is the only element in the composition hinting at remoteness and distance; everything else is very much of the present and of this world, the undulating land, the ploughed fields, the hedgerows and hills, the city with its roofs, towers and battlements, and - a favourite motif at that time - the gallows with the hanged men dangling from it, which paradoxically imparts something lifelike to the scene. The bushes, bosquets and foliage are painted meticulously, and the animals, to which Pisanello always gave the closest attention, are also rendered with great care: the stork flying inland, the dogs, the ram, and the mounts of the seven horsemen, among them a Kalmuck archer with a painfully intense expression on his face. In the centre of the painting is the principessa in a gown of feathers and St George, the silver of whose armour has peeled off, though his reddish gold hair still glows about him. It is astounding how Pisanello contrived to set the wide
open eyes of the knight, already wandering sideways to the hard and bloody battle ahead, against the self-contained expression of the woman indicated by little more than a slight
lowering of her gaze. On the third day of my stay in Verona, I took my evening meal in a pizzeria in the Via Roma. I do not know how I go about choosing the restaurants where I eat in unfamiliar cities. On the one hand I am too fastidious and wander the streets broad and narrow for hours on end before I make up my mind; on the other hand I generally finish up turning in simply anywhere, and then, in dreary surroundings and with a sense of discontent, select some dish that does not in the least appeal. That was how it was on that evening of the 5th of November. If I had heeded my first inclination, I would never have crossed the threshold of that establishment, which even from the outside made a disreputable impression. But now there I sat, on a kitchen chair with a cover of red marbled plastic, at a rickety table, in a grotto festooned with fishing nets. The decor of the floor and walls was a hideous marine blue which put an end to all hope I might have entertained of ever seeing dry land again. The sense of being wholly surrounded by water was rendered complete by a sea piece that hung right below the ceiling opposite me, in a frame painted a golden bronze. As is commonly the case with such sea pieces, it showed a ship, on the crest of a turquoise wave crowned with snow-white foam, about to plunge into the yawning depths that gaped beneath her bows. Plainly this was the moment immediately before a disaster. A mounting sense of unease took possession of me. I was obliged to push aside the plate, barely half of the pizza eaten, and grip the table edge, as a seasick man might grip a ship's rail. I sensed my brow running cold with fear, but was quite unable to call the waiter over and ask for the bill. Instead, in order to focus on reality once more, I pulled the newspaper I had bought that afternoon, the Venice Gazzettino, out of my jacket pocket and unfolded it on the table as best I could. The first article that caught my attention was an editorial report to the effect that yesterday, the 4th of November, a letter in strange runic writing had been received by the newspaper, in which a hitherto unknown group by
the name of
claimed responsibility for a number of murders that had been committed in Verona and other northern Italian cities since 1977. The article brought these as yet unsolved cases back to the memories of its readers. In late August 1977, a romany named Guerrino Spinelli had died in a Verona hospital of severe burns sustained when the old Alfa in which he customarily spent the night on the outskirts of the city was set on fire by persons unknown. A good year later, a waiter, Luciano Stefanato, was found dead in Padua with two 25-centimetre stab wounds in the neck, and another year after that a 22-year-old heroin addict, Claudio Costa, was found dead with thirty-nine knife wounds. It was now the late autumn of 1980. The waiter brought me the bill. It was folded and I opened it out. The letters and numbers blurred before my eyes. The 5th of November, 1980. Via Roma. Pizzeria Verona. Di Cadavero Carlo e Patierno Vittorio. Patierno and Cadavero. -
The telephone rang. The waiter wiped a glass dry and held it up to the light. Not until I felt I could stand the ringing no longer did he pick up the receiver. Then, jamming it between his shoulder and his chin, he paced to and fro behind the bar as far as the cable would let him. Only when he was speaking himself did he stop, and at these times he would lift his eyes to the ceiling. No, he said, Vittorio wasn't there. He was hunting. Yes, that was right, it was him, Carlo. Who else would it be? Who else would be in the restaurant? No, nobody. Not a soul all day. And now there was only one diner. Un inglese, he said, and looked across at me with what I took to be a touch of contempt. No wonder, he said, the days were getting shorter. The lean times were on the way. L'inverno è alle porte. si, si, l'inverno, he shouted once more, looking over at me again. My heart missed a beat. I left 10,000 lire on the plate, folded up the paper, hurried out into the street and across the piazza, went into a brightly lit bar and had them call a taxi, returned to my hotel, packed my things in a rush, and fled by the night train to Innsbruck. Prepared for the very worst, I sat in my compartment unable to read and unable to close my eyes, listening to the rhythm of the wheels. At Rovereto an old Tyrolean woman carrying a shopping bag made of leather patches sewn together joined me, accompanied by her son, who might have been forty. I was immeasurably grateful to them when they came in and sat down. The son leaned his head back against the seat. Eyelids lowered, he smiled blissfully most of the time. At intervals, though, he would be seized by a spasm, and his mother would then make signs in the palm of his left hand, which lay in her lap, open, like an unwritten page. The train hauled onwards, uphill. Gradually I began to feel better. I went out into the corridor. We were in Bolzano. The Tyrolean woman and her son got out. Hand in hand the two of them headed towards the underpass. Even before they had vanished from sight, the train started off again. It was now beginning to feel distinctly colder. The train moved more slowly, there were fewer lights, and the darkness was thicker. Franzensfeste station passed. I saw scenes of a bygone war: the assault on the pass - Vall'Inferno - the 26th of May, 1915. Bursts of gunfire in the mountains and a forest shot to shreds. Rain hatched the window-panes. The train changed track at points. The pallid glow of arc-lamps suffused the compartment. We stopped at the Brenner. No one got out and no one got in. The frontier guards in their grey greatcoats paced to and fro on the platform. We remained there for at least a quarter of an hour. Across on the other side were the silver ribbons of the rails. The rain turned to snow. And a heavy silence lay upon the place, broken only by the bellowing of some nameless animals waiting in a siding to be transported onwards.
In the summer of 1987, seven years after I fled from Verona, I finally yielded to a need I had felt for some time to repeat the journey from Vienna via Venice to Verona, in order to probe my somewhat imprecise recollections of those fraught and hazardous days and perhaps record some of them. On this occasion in the midst of the holiday season, the night train from Vienna to Venice, on which in the late October of 1980 I had seen nobody except a pale-faced schoolmistress from New Zealand, was so overcrowded that I had to stand in the corridor all the way or crouch uncomfortably among suitcases and rucksacks, so that instead of drifting into sleep I slid into my memories. Or rather, the memories (at least so it seemed to me) rose higher and higher in some space outside of myself, until, having reached a certain level, they overflowed from that space into me, like water over the top of a weir. Once I had begun to write, the time passed more swiftly than I should ever have thought possible, and it was not until the train was rolling slowly from Mestre over the railway causeway, crossing the lagoon which stretched out on either side in the gleam of the night, that I came to. At Santa Lucia I was one of the last to get out. With my blue canvas bag slung as ever across my shoulder, I slowly walked down the platform to the station hall, where a veritable army of backpackers were lying on the stone floor in sleeping-bags on straw mats, close to each other like an alien people resting on their way through the desert. Out in the station forecourt, too, countless young men and women lay in groups or couples or singly, on the steps and all around. I sat on the Riva and took out my writing materials, the pencil and the fine-ruled paper. The red glow of dawn was already breaking over the eastward roofs and domes of the city. Here and there, sleepers stirred in the no man’s land where they had spent the night, propped themselves up and began to rummage through their belongings, eating a bite or drinking a little and then stowing it all carefully away again. Presently, bowed under heavy packs, which reached a full head above them, several began moving among their brothers and sisters still lying on the ground, as if they were preparing for the next stage of an arduous and never-ending journey.
I sat on the Fondamenta Santa Lucia until half the morning was gone. The pencil flew across the paper, and from time to time a cockerel crowed from its cage on the balcony of a house across the canal. When I looked up once again from my work, the shadowy forms of the sleepers on the station forecourt had all vanished, or had faded away, and the morning traffic had begun. At one point a barge laden with heaps of rubbish came by. A large rat scuttled along its gunnel and, having reached the bow, plunged head first into the water. I cannot say whether it was the sight of this that made me decide not to stay in Venice but to travel on to Padua instead, without delay, and seek out Enrico Scrovegni's Arena Chapel. Hitherto all I knew of it was an account that described the undiminished intensity of the colours in Giotto's frescoes, and the certainty which governs every stride and feature of the figures represented. Once I entered the chapel, from the heat that already prevailed in the city even in the early morning of that day, and stood before the three rows of frescoes that cover the walls up to the ceiling, I was overwhelmed by the silent lament of the angels, who have kept their station above our endless calamities for nigh on seven centuries. Their lament resounded in the very silence of the chapel and their eyebrows were drawn so far together in their grief that one might have supposed them blindfolded. And are not their white wings, I thought, with those few
bright green touches of Veronese earth, the most wondrous of all the things we have ever conceived of? Gli angeli visitano la scena della disgrazia - with these words on my lips I returned through the roaring traffic to the station, not far from the chapel, to take the very next train to Verona, where I hoped to learn something not only relating to my own abruptly broken-off stay in that city seven years before but also about the disconcerting afternoon, as he himself described it, that Dr K. spent there in September 1913 on his way from Venice to Lake Garda. After barely an hour of breezy travel, with the windows open upon the radiant landscape, the Porta Nuova came into view and as I beheld the city lying in the semicircle of the distant mountains, I found myself incapable of alighting. Strangely transfixed, I remained seated, and when the train had left Verona and the guard came down the corridor once more I asked him for a supplementary ticket to Desenzano, where I knew that on Sunday the 21st of September, 1913, Dr K., filled with the singular happiness of knowing that no one suspected where he was at that moment, but otherwise profoundly disconsolate, had lain alone in the grass
on the lakeside and gazed out at the waves in the reeds.
The railway station at Desenzano, which cannot have been completed much before 1913 and which, at least externally, had changed little since, lay 'deserted in the midday sun when the departing train had shrunk to the size of the westerly vanishing point. Above the tracks, which ran towards the horizon in a straight line as far as the eye could see, the air shimmered. To the south were open fields. The station building, deserted though it seemed, gave a decidedly purposeful impression. Engraved in elegant lettering into the glass panels over the doors which faced the platform were the official designations of the station staff. Capo stazione titulare. Capo di statione superiore. Capi stazione aggiunti. Manovratori manuali. I waited in the hope that at least one representative of this bygone hierarchy, say, the stationmaster with a glinting monocle or a porter with a walrus moustache and long apron, would emerge from one of those doors and bid me welcome, but there was no sign of life. The building was deserted inside as well. For some time I wandered upstairs and down until I found the pissoir, where scarcely a thing had been altered since the turn of the century, as in the rest of the building. The wooden stalls in a military shade of green, the heavy stoneware basins and the white tiles had aged, were chipped and netted with hairline cracks, but otherwise everything was unchanged, except for the graffiti, all of which dated from the last twenty years. As I washed my hands I looked in the mirror and wondered whether Dr K., travelling from Verona, had also been at this station and found himself contemplating his face in this mirror. It would not have been surprising. And one of the graffiti beside the mirror seemed indeed to suggest as much. Il cacciatore, it read, in awkwardly formed letters. When I had dried my hands, I added the words nella selva nera.