main beam which supported it, a really hefty piece of chestnut, would have been more reassuring if it hadn’t had a great crack in it.
Looking at it, as I already had at numerous other beams and boards during this tour of inspection, I found it difficult to decide whether I Castagni might be good for another hundred years, or might collapse altogether in the course of the next couple of hours.
The view from the outside balcony of this upper floor was terrific. Here we were about eight hundred feet above the sea. It was a beautiful afternoon and the sun shone from a cloudless sky, flooding the front of the house with a brilliant golden light.
To the west, beyond the house, the grassy track that led past the front of it from the torrent, gradually descended a hundred yards or so beyond it between lines of vines to a pretty two-storeyed building, a smaller version of I Castagni; and some fifteen miles or so beyond it were the mountains of the Cinque Terre beyond La Spezia, behind which the sun was now beginning to sink, like a huge orange.
Far below to the south-west was the Plain of Luni, with its innumerable small holdings and market gardens. And beyond them were the wooded heights that rose steeply above the far,right bank of the Magra, here running down through its final reach before entering the Ligurian Sea.
It was at this moment that I took a black-and-white photograph of the house which, when it was printed, had more of the quality of an engraving than a photograph, a magical effect, but one that I was never able to emulate, however hard I tried.
Down on the ground floor, at the foot of the outside staircase, next to the front door and at right angles to it, there was another door that opened into what was a miniature, protruding wing of the house. This part of it was almost completely severed from the main part of the building by a frightful fissure that ran from top to bottom of it.
According to Signora Angiolina, who had been living in the neighbourhood when it occurred, it had been caused by the great earthquake of 1921, which had damaged or destroyed a number of houses in the region. Again I had the feeling that yet another part of the building might be about to collapse.
This was the only room in the house to which Signora Angiolina did not have a key, apart from the one that opened the door to the loft at the back of the house, the one that was going to need a ladder to get to it.
The only way one could see into this little room was through a heavily barred window; fortunately the wooden shutters were open.
It was a very small room, freshly whitewashed and lit by the same sort of oil lamps we had seen in the kitchen. The few bits of furniture, which almost completely filled it, consisted of a large, old single bed of polished wood with a high back inlaid with mother-of-pearl; made up with clean white linen sheets which were turned back, ready to receive whoever was going to sleep between them. Alongside the bed there was a little stool covered with a worn fragment of carpet, and on the wall next to the bedthere was a crucifix and an oleograph of La Santissima Vergine del Rosario di Fontanellato, Wanda’s village near Parma, where I had been a prisoner-of-war in 1943, and below it there was a small, circular, marble-topped table, which it later transpired contained a vaso da notte , a chamber pot.
On the other side of the bed there was a very old wooden chest. Overhead the whitewashed ceiling looked decidedly wonky, with big patches of damp where the rain had penetrated; but in spite of this the room was a lap of luxury compared with the rest of the house, and the only part remotely ready for occupation.
‘And who sleeps in this room?’ Wanda asked superfluously. Like me she already knew the answer before Signora Angiolina confirmed that this was the bedchamber of Attilio. It was also unnecessary to ask who washed and ironed his sheets.‘ Sta arrivando adesso , Attilio,’ she said. ‘He is coming