CHAPTER 2The studio of the master-sculptor, Luca Lomi, was composed of two large rooms unequally divided by a wooden partition, with an arched doorway cut in the middle of it.
While the milliners of the Grifoni establishment were industriously shaping dresses, the sculptors in Luca Lomi's workshop were, in their way, quite as hard at work shaping marble and clay. In the smaller of the two rooms the young nobleman (only addressed in the studio by his Christian name of Fabio) was busily engaged on his bust, with Nanina sitting before him as a model. His was not one of those traditional Italian faces from which subtlety and suspicion are always supposed to look out darkly on the world at large. Both countenance and expression proclaimed his character frankly and freely to all who saw him. Qu
