diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-03-08 21:12:02 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-08 21:12:02 -0800 |
| commit | 01a7474f096643101b3435f4c0ae0b772f737a36 (patch) | |
| tree | cefe6eeb126530ab2508efd7aa9aac462e67d6c9 | |
| parent | d1d427e0007fc3d1b4f3a79310db01f90b5d83a2 (diff) | |
| -rw-r--r-- | 40621-0.txt (renamed from 40621-8.txt) | 451 | ||||
| -rw-r--r-- | 40621-8.zip | bin | 41358 -> 0 bytes | |||
| -rw-r--r-- | 40621-h.zip | bin | 7521685 -> 0 bytes | |||
| -rw-r--r-- | 40621-h/40621-h.htm | 479 | ||||
| -rw-r--r-- | 40621.txt | 2971 | ||||
| -rw-r--r-- | 40621.zip | bin | 41317 -> 0 bytes |
6 files changed, 61 insertions, 3840 deletions
diff --git a/40621-8.txt b/40621-0.txt index 7a97a69..099bdc4 100644 --- a/40621-8.txt +++ b/40621-0.txt @@ -1,35 +1,4 @@ -The Project Gutenberg EBook of Little Tony of Italy, by Madeline Brandeis - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Little Tony of Italy - -Author: Madeline Brandeis - -Release Date: August 30, 2012 [EBook #40621] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK LITTLE TONY OF ITALY *** - - - - -Produced by Juliet Sutherland, Matthias Grammel and the -Online Distributed Proofreading Team at http://www.pgdp.net - - - - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 40621 *** [Illustration: THE BAY OF NAPLES] @@ -1787,7 +1756,7 @@ wanted their own king, Victor Emmanuel. "Verdi's music always stirred within them a deep love of their country. "It was found that the name 'Verdi' could be spelled by using the first -letters of the words, '_V_ictor _E_mmanuel, _R_é _d_'_I_talia' (which +letters of the words, '_V_ictor _E_mmanuel, _R_é _d_'_I_talia' (which means, in English, "Victor Emmanuel, King of Italy"). "The Italians would cry 'Verdi! Verdi!' The Austrians thought, of course, @@ -2518,61 +2487,61 @@ THE END PRONOUNCING VOCABULARY - Amalfi ä mäl´f[=e] + Amalfi ä mäl´f[=e] - Avanti ä vänt´[=e] + Avanti ä vänt´[=e] - Balilla b[)a]l l[=e]´l[=a] + Balilla b[)a]l l[=e]´l[=a] - Bella signorina b[)e]l´[.a] s[=e]´ny[+o] r[=e]´nä + Bella signorina b[)e]l´[.a] s[=e]´ny[+o] r[=e]´nä - Benito Mussolini b[)e]n [=e]´t[=o] m[=oo]s´s[+o] l[=e]´n[=e] + Benito Mussolini b[)e]n [=e]´t[=o] m[=oo]s´s[+o] l[=e]´n[=e] - Campanile k[)a]m´p[.a] n[)i]l + Campanile k[)a]m´p[.a] n[)i]l - Cimabue ch[=e]´mä b[=oo]´[=a] + Cimabue ch[=e]´mä b[=oo]´[=a] - Colosseum k[)o]l´[)o] s[=e]´[)u]m + Colosseum k[)o]l´[)o] s[=e]´[)u]m - Dante d[)a]n´t[+e] + Dante d[)a]n´t[+e] - Dio mio d[=e]´[=o] m[=e]´[=o] + Dio mio d[=e]´[=o] m[=e]´[=o] Doge d[=o]j - Felicissima notte f[=a] l[=e] ch[=e]´s[+e] m[.a] n[=o]´t[)e] + Felicissima notte f[=a] l[=e] ch[=e]´s[+e] m[.a] n[=o]´t[)e] - Fontana Trevi f[)o]n tä´nä tr[)e]´v[=e] + Fontana Trevi f[)o]n tä´nä tr[)e]´v[=e] - Genoa j[)e]n´[+o] [.a] + Genoa j[)e]n´[+o] [.a] - Giotto jôt´t[=o] + Giotto jôt´t[=o] - Giuseppe Verdi j[=oo] s[)e]p´p[=a] vâr´d[=e] + Giuseppe Verdi j[=oo] s[)e]p´p[=a] vâr´d[=e] - Grazie gr[.a]tz´i [)e] + Grazie gr[.a]tz´i [)e] - Il Duce [=el] d[=oo]´ch[=a] + Il Duce [=el] d[=oo]´ch[=a] - Lucullus l[+u] k[)u]l´[)u]s + Lucullus l[+u] k[)u]l´[)u]s - Mia m[=e]´[.a] + Mia m[=e]´[.a] - Milan m[)i] l[)a]n´ + Milan m[)i] l[)a]n´ - Niki n[=e]´k[=e] + Niki n[=e]´k[=e] - Palazzo San Giorgio p[)a]l ätz´[=o] sän j[+o]r´jy[=o] + Palazzo San Giorgio p[)a]l ätz´[=o] sän j[+o]r´jy[=o] - Piccole Italiane p[=e]´c[=o] l[)e] [)i] täl [)i] än´[)e] + Piccole Italiane p[=e]´c[=o] l[)e] [)i] täl [)i] än´[)e] - Stromboli str[+o]m´b[+o] l[+e] + Stromboli str[+o]m´b[+o] l[+e] - Tina t[=e]´nä + Tina t[=e]´nä - Torrone tôr r[=o]´n[)e] + Torrone tôr r[=o]´n[)e] - Viva Italia v[=e]´vä [+e] täl´yä + Viva Italia v[=e]´vä [+e] täl´yä @@ -2608,364 +2577,4 @@ two also appear within this etext: End of Project Gutenberg's Little Tony of Italy, by Madeline Brandeis -*** END OF THIS PROJECT GUTENBERG EBOOK LITTLE TONY OF ITALY *** - -***** This file should be named 40621-8.txt or 40621-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/6/2/40621/ - -Produced by Juliet Sutherland, Matthias Grammel and the -Online Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. +*** END OF THE PROJECT GUTENBERG EBOOK 40621 *** diff --git a/40621-8.zip b/40621-8.zip Binary files differdeleted file mode 100644 index b0a3dc9..0000000 --- a/40621-8.zip +++ /dev/null diff --git a/40621-h.zip b/40621-h.zip Binary files differdeleted file mode 100644 index fb486e8..0000000 --- a/40621-h.zip +++ /dev/null diff --git a/40621-h/40621-h.htm b/40621-h/40621-h.htm index 513a14f..473c0b3 100644 --- a/40621-h/40621-h.htm +++ b/40621-h/40621-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Little Tony of Italy, by Madeline Brandeis. @@ -196,43 +196,7 @@ em.gesperrt <body> - - -<pre> - -The Project Gutenberg EBook of Little Tony of Italy, by Madeline Brandeis - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Little Tony of Italy - -Author: Madeline Brandeis - -Release Date: August 30, 2012 [EBook #40621] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK LITTLE TONY OF ITALY *** - - - - -Produced by Juliet Sutherland, Matthias Grammel and the -Online Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 40621 ***</div> <div><span class="pagenum"><a name="Page_3" id="Page_3"></a></span></div> @@ -3408,7 +3372,7 @@ a deep love of their country.</p> <p>"It was found that the name 'Verdi' could be spelled by using the first letters of the -words, '<i>V</i>ictor <i>E</i>mmanuel, <i>R</i>é <i>d</i>'<i>I</i>talia' +words, '<i>V</i>ictor <i>E</i>mmanuel, <i>R</i>é <i>d</i>'<i>I</i>talia' (which means, in English, "Victor Emmanuel, King of Italy").</p> @@ -4564,53 +4528,53 @@ been love at first sight!</p> <table border="0" cellspacing="0" cellpadding="4"> <tr> <td align="left" style="width:200px">Amalfi</td> - <td align="right" style="width:200px">ä mäl´fē + <td align="right" style="width:200px">ä mäl´fē </td> </tr> <tr> <td align="left" style="width:200px">Avanti</td> - <td align="right" style="width:200px">ä vänt´ē + <td align="right" style="width:200px">ä vänt´ē </td> </tr> <tr> <td align="left" style="width:200px">Balilla</td> - <td align="right" style="width:200px">băl lē´lā + <td align="right" style="width:200px">băl lē´lā </td> </tr> <tr> <td align="left" style="width:200px">Bella signorina</td> - <td align="right" style="width:200px">bĕl´ȧ sē´nyō̍ rē´nä + <td align="right" style="width:200px">bĕl´ȧ sē´nyō̍ rē´nä </td> </tr> <tr> <td align="left" style="width:200px">Benito Mussolini</td> - <td align="right" style="width:200px">bĕn ē´tō mo͞os´sō̍ lē´nē + <td align="right" style="width:200px">bĕn ē´tō mo͞os´sō̍ lē´nē </td> </tr> <tr> <td align="left" style="width:200px">Campanile</td> - <td align="right" style="width:200px">kăm´pȧ nĭl + <td align="right" style="width:200px">kăm´pȧ nĭl </td> </tr> <tr> <td align="left" style="width:200px">Cimabue</td> - <td align="right" style="width:200px">chē´mä bo͞o´ā + <td align="right" style="width:200px">chē´mä bo͞o´ā </td> </tr> <tr> <td align="left" style="width:200px">Colosseum</td> - <td align="right" style="width:200px">kŏl´ŏ sē´ŭm + <td align="right" style="width:200px">kŏl´ŏ sē´ŭm </td> </tr> <tr> <td align="left" style="width:200px">Dante</td> - <td align="right" style="width:200px">dăn´tē̍ + <td align="right" style="width:200px">dăn´tē̍ </td> </tr> <tr> <td align="left" style="width:200px">Dio mio</td> - <td align="right" style="width:200px">dē´ō mē´ō + <td align="right" style="width:200px">dē´ō mē´ō </td> </tr> <tr> @@ -4620,86 +4584,86 @@ been love at first sight!</p> </tr> <tr> <td align="left" style="width:200px">Felicissima notte</td> - <td align="right" style="width:200px">fā̍ lē chē´sē̍ mȧ nō´tĕ + <td align="right" style="width:200px">fā̍ lē chē´sē̍ mȧ nō´tĕ </td> </tr> <tr> <td align="left" style="width:200px">Fontana Trevi</td> - <td align="right" style="width:200px">fŏn tä´nä trĕ´vē + <td align="right" style="width:200px">fŏn tä´nä trĕ´vē </td> </tr> <tr> <td align="left" style="width:200px">Genoa</td> - <td align="right" style="width:200px">jĕn´ō̍ ȧ + <td align="right" style="width:200px">jĕn´ō̍ ȧ </td> </tr> <tr> <td align="left" style="width:200px">Giotto</td> - <td align="right" style="width:200px">jôt´tō + <td align="right" style="width:200px">jôt´tō </td> </tr> <tr> <td align="left" style="width:200px">Giuseppe Verdi</td> - <td align="right" style="width:200px">jo͞o sĕp´pā vâr´dē</td> + <td align="right" style="width:200px">jo͞o sĕp´pā vâr´dē</td> </tr> <tr> <td align="left" style="width:200px">Grazie</td> - <td align="right" style="width:200px">grȧtz´i ĕ + <td align="right" style="width:200px">grȧtz´i ĕ </td> </tr> <tr> <td align="left" style="width:200px">Il Duce</td> - <td align="right" style="width:200px">ēl do͞o´chā + <td align="right" style="width:200px">ēl do͞o´chā </td> </tr> <tr> <td align="left" style="width:200px">Lucullus</td> - <td align="right" style="width:200px">lū̍ kŭl´ŭs + <td align="right" style="width:200px">lū̍ kŭl´ŭs </td> </tr> <tr> <td align="left" style="width:200px">Mia</td> - <td align="right" style="width:200px">mē´ȧ + <td align="right" style="width:200px">mē´ȧ </td> </tr> <tr> <td align="left" style="width:200px">Milan</td> - <td align="right" style="width:200px">mĭ lăn´ + <td align="right" style="width:200px">mĭ lăn´ </td> </tr> <tr> <td align="left" style="width:200px">Niki</td> - <td align="right" style="width:200px">nē´kē + <td align="right" style="width:200px">nē´kē </td> </tr> <tr> <td align="left" style="width:200px">Palazzo San Giorgio</td> - <td align="right" style="width:200px">păl ätz´ō sän jō̍r´jyō + <td align="right" style="width:200px">păl ätz´ō sän jō̍r´jyō </td> </tr> <tr> <td align="left" style="width:200px">Piccole Italiane</td> - <td align="right" style="width:200px">pē´cō lĕ ĭ täl ĭ än´ĕ + <td align="right" style="width:200px">pē´cō lĕ ĭ täl ĭ än´ĕ </td> </tr> <tr> <td align="left" style="width:200px">Stromboli</td> - <td align="right" style="width:200px">strō̍m´bō̍ lē̍ + <td align="right" style="width:200px">strō̍m´bō̍ lē̍ </td> </tr> <tr> <td align="left" style="width:200px">Tina</td> - <td align="right" style="width:200px">tē´nä + <td align="right" style="width:200px">tē´nä </td> </tr> <tr> <td align="left" style="width:200px">Torrone</td> - <td align="right" style="width:200px">tôr rō´nĕ + <td align="right" style="width:200px">tôr rō´nĕ </td> </tr> <tr> <td align="left" style="width:200px">Viva Italia</td> - <td align="right" style="width:200px">vē´vä ē̍ täl´yä + <td align="right" style="width:200px">vē´vä ē̍ täl´yä </td> </tr> </table> @@ -4721,388 +4685,7 @@ been love at first sight!</p> after the table of contents. Images have been moved from the middle of a paragraph to the closest paragraph break.</p> - - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Little Tony of Italy, by Madeline Brandeis - -*** END OF THIS PROJECT GUTENBERG EBOOK LITTLE TONY OF ITALY *** - -***** This file should be named 40621-h.htm or 40621-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/6/2/40621/ - -Produced by Juliet Sutherland, Matthias Grammel and the -Online Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - -</pre> - +<div>*** END OF THE PROJECT GUTENBERG EBOOK 40621 ***</div> </body> </html> diff --git a/40621.txt b/40621.txt deleted file mode 100644 index 40f3d2c..0000000 --- a/40621.txt +++ /dev/null @@ -1,2971 +0,0 @@ -The Project Gutenberg EBook of Little Tony of Italy, by Madeline Brandeis - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Little Tony of Italy - -Author: Madeline Brandeis - -Release Date: August 30, 2012 [EBook #40621] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK LITTLE TONY OF ITALY *** - - - - -Produced by Juliet Sutherland, Matthias Grammel and the -Online Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - - [Illustration: THE BAY OF NAPLES] - - - - LITTLE TONY - _of_ ITALY - - BY - MADELINE BRANDEIS - - _Photographic Illustrations_ - - GROSSET & DUNLAP - PUBLISHERS NEW YORK - - _by arrangement with the A. Flanagan Company_ - - - - _COPYRIGHT, 1934, BY A. FLANAGAN COMPANY_ - - PRINTED IN THE UNITED STATES OF AMERICA - - - - DEDICATION - - TO MY MOTHER, WHOSE MUSIC AND - SINGING ARE SOMEHOW IN TUNE - WITH THE "SINGING LAND" ABOUT - WHICH THIS BOOK IS WRITTEN - - - - -PREFACE - - -When I began to write these stories about children of all lands I had -just returned from Europe whither I journeyed with Marie and Ref. Maybe -you don't know Marie and Ref. I'll introduce them: Please meet Marie, -my very little daughter, and Ref, my very big reflex camera. - -These two are my helpers. Marie helps by being a little girl who knows -what other little girls like and by telling me; and Ref helps by snapping -pictures of everything interesting that Marie and I see on our travels. -I couldn't get along without them. - -Several years have gone by since we started our work together and Marie -is a bigger girl--but Ref hasn't changed one bit. Ref hasn't changed any -more than my interest in writing these books for you. And I hope that -_you_ hope that I'll never change, because I want to keep on writing -until we'll have no more countries to write about--unless, of course, -some one discovers a new country. - -Even if a new country isn't discovered, we'll find foreign children to -talk about--maybe the children in Mars! Who knows? Nobody. Not even -Marie--and Marie usually knows about most things. That's the reason why, -you see, though I sign myself - - [Signature: Madeline Brandeis] - - I am really only - Marie's Mother. - - - - -CONTENTS - - - PAGE - - Chapter I - - Tony and Tina 13 - - Chapter II - - Tony and the Balilla 29 - - Chapter III - - Niki 42 - - Chapter IV - - Rome 59 - - Chapter V - - Tony and Anna 72 - - Chapter VI - - Cities, Animals, and Discipline 86 - - Chapter VII - - Statues, Music, and Cheese 111 - - Chapter VIII - - Danger! 120 - - Chapter IX - - The Buried City 128 - - Chapter X - - Fever, Fear, and Troubled Sleep 139 - - Chapter XI - - Tony, Anna, and Tina 149 - - Pronouncing Vocabulary 160 - - - - -LIST OF ILLUSTRATIONS - - - PAGE - - THE BAY OF NAPLES 4 - - TONY AND TINA 12 - - ON A STREET IN NAPLES 14 - - A FAMILY GROUP ON A STREET IN NAPLES 17 - - THE BAY OF NAPLES 20 - - IN FRONT OF THE MARIONETTE THEATRE 22 - - LAKE COMO 25 - - "I DIE OF HUNGER!" 30 - - "I WANT TO HELP YOU," SAID THE BOY 34 - - BOYS OF THE BALILLA 36 - - TINA WAS VERY SERIOUS 39 - - THE MARIONETTES WERE VERY HANDSOME 43 - - THE MARIONETTE THEATRE 45 - - THE BAY OF NAPLES AND VESUVIUS 47 - - ANNA'S HOUSE 52 - - CAPRI 53 - - TONY DREW CLOSER TO LISTEN 56 - - ST. PETER'S: ROME 60 - - THE PANTHEON: ROME 61 - - THE VATICAN: ROME 62 - - THE COLOSSEUM: ROME 64 - - INSIDE THE COLOSSEUM: ROME 65 - - TREVI FOUNTAIN: ROME 67 - - A PARADE PASSING THE COLOSSEUM: ROME 69 - - "AH. TINA MIA, I HAVE FOUND YOU AGAIN." 74 - - ANNA 76 - - "HUSH," SAID TONY 79 - - AMALFI 81 - - TONY BENT LOW AND KISSED HER HAND 83 - - ALONG THE ROAD, NEAR NAPLES 87 - - ALONG THE ROAD 88 - - FLORENCE AND THE ARNO RIVER 91 - - PIAZZA DELLA SIGNORIA: FLORENCE 92 - - ST. MARK'S: VENICE 93 - - A CANAL IN VENICE 97 - - THE LEANING TOWER OF PISA 98 - - THE BRIDGE OF SIGHS: VENICE 101 - - THE DOGE'S PALACE: VENICE 102 - - IN A GONDOLA 103 - - FEEDING PIGEONS IN ST. MARK'S SQUARE 104 - - JULIET'S GRAVE: VERONA 106 - - WASHING CLOTHES 108 - - A FISH MARKET IN GENOA 112 - - COLUMBUS' HOUSE: GENOA 114 - - A QUAINT ITALIAN STREET 116 - - MILAN CATHEDRAL 121 - - VESUVIUS SEEN FROM POMPEII 124 - - THE APPIAN WAY 130 - - POMPEII 132 - - HOUSE OF THE VETTI: POMPEII 133 - - A STREET IN POMPEII - _Photo by Courtesy of Italian Tourist Information Office_ 136 - - OLD OLIVE OIL MILL: POMPEII 141 - - POMPEII 142 - - SORRENTO - _Photo by Courtesy of Italian Tourist Information Office_ 144 - - TONY TRIED TO EXPLAIN EVERYTHING 151 - - TONY, ANNA, AND TINA-NIKI-FIDO 156 - - - - -[Illustration: TONY AND TINA] - - - - -Little Tony of Italy - - - - -CHAPTER I - -TONY AND TINA - - -It was love at first sight. - -It happened as Tony was sauntering along a noisy street in Naples. One of -the noisiest, oldest, and dirtiest streets. - -Cries, songs, laughter, scoldings filled the air. And smells! But not the -smell of roses. - -Tony's brown hands were stuffed in his ragged pockets. A never-mind whistle -was on his saucy lips. - -But suddenly he stopped. He planted his legs apart and stared. There, on -the steps of a church, she sat. Her beautiful, pitiful brown eyes looked -up at Tony. - -She had a bewitching face. It was a white face; thin and rather sad. - -"Hungry?" asked Tony. - -[Illustration: ON A STREET IN NAPLES] - -Then, without waiting for a reply, he added, "Come along. I'll buy you -something to eat." - -He jingled coins in his pockets. His mouth curved at the corners. He had -black eyes and they gleamed. - -They started off together, when, all at once, she stopped and would go no -farther. - -"Come," urged Tony. "Don't be afraid. I have money. See? I begged it of -the Americans at the big hotel." - -He drew the coins from his pocket and showed them to her. But she only -stood and gazed at him with those mournful, brown eyes. Tony's black -ones snapped. - -"Avanti! (Forward!)" he cried. "What makes you stand like a donkey? See, -I have enough to buy you all the food you can eat. I am clever." - -He smiled roguishly. - -"I cry before the foreigners," he continued. "I rub my stomach, so! I -say, 'Ah, I die of hunger!'" - -He made a frightful face and patted his stomach. - -But she only looked at him and did not move. Yet there was admiration -in her eyes. - -"Then," he went on, "they feel sorry for me and they say, 'Poor boy! -Beautiful boy! We must give him some money!' So they do that!" - -He laughed and showed his white teeth. But not she. There was something -very serious about her. - -Tony had a temper. Angrily, he now stooped and picked her up. She did not -resist. In fact, her fluffy tail wagged heartily and she began to lick -his face. - -She seemed to be saying, "I am forbidden to go with you. But if you take -me, what can I do?" - -Tony bought meat from a street vender. He put her down and fed her out of -his hand. She ate hungrily. Her little ribs showed plainly through the -dirty white hair of her body. - -When she finished, Tony picked her up again. He should have taken her -back to the church steps. She belonged to the Marionette show around the -corner. She was a trained dog. - -But Tony did not know this. He only knew that he loved the little dog -very much, that he could not live another day without her. - -[Illustration: A FAMILY GROUP ON A STREET IN NAPLES] - -Determinedly, he tucked her under his arm and started toward home. - -He stuffed the remaining meat inside his shirt. It was not a very clean -shirt, anyway, so a little meat did not make much difference. - -Tony was an orphan. Nobody ever said to him, "Take your bath!" "Have you -washed your ears?" - -He lived with an old woman in the back of a very old house. Everything -was old on this street. Everything but the children--and there were many -of them. - -It was a poor and crowded street. People sat outside their doors all day -long. They worked and played and ate outside. - -But now Tony ran inside quickly to look for the old woman. - -"Look! Look!" he cried. "I have found a poor, lost little dog!" - -The old woman was deaf. - -"The dog is hurt?" she screamed. She glared at the frightened animal -which lay quite still in Tony's arms. - -"No!" yelled Tony. "I found her and I am going to keep her!" - -"You are not going to keep her!" shrilled the old woman. - -Then she peered more closely at Tony. - -"What is that?" she asked. "Ah, meat inside your shirt! You have been -feeding animals again. Ah!" - -Her mouth fell open. A light of recognition came into her eyes. - -"Dio Mio!" she gasped. "It is the trained dog of Guido, the Marionette -Man! You have stolen it! Ah, Madonna, now you are a thief!" - -Tony shrank. His face grew almost as white as the dog's. A thief! Of -course, Tony knew that often he did not tell the truth. But then, it -was sometimes much easier to make up falsehoods. And much more fun! -Besides, he never told stories that would do anyone harm. - -But to steal? That was a different thing. - -[Illustration: THE BAY OF NAPLES] - -He had not known that the dog belonged to the Marionette show. - -"You are not satisfied with telling lies," went on the excited old -woman. "But now you must steal besides! Come, you child of Satan!" - -She threw a tattered shawl about her shoulders. - -"We are going to take the dog back to Guido!" she announced. - -She led Tony away briskly. She was a witch-like old woman. But still, she -had cared for Tony since his parents had died and left him alone. - -She had cared for him in giving him a home and something to eat. But that -was all. She had not tried to teach him the things that real parents teach -their children--things like the beauty of truth. Perhaps if she had done -this, Tony might have been different. - -As it was, he was a lying little rascal with the face of an angel. He had -no thought but for song and story--and, of course, for animals! - -[Illustration: IN FRONT OF THE MARIONETTE THEATRE] - -They found Guido at his tiny theatre. The old woman pushed Tony up to the -Marionette Man, the dog nestling in his arms. - -"Here is your dog, Mr. Guido!" The old woman's voice was sharp like her -nose. Tony, who liked beautiful sounds, hated to hear her talk. - -"This--this--lost child of a thousand devils brought it home," she -croaked. "What will he do next? I am disgraced!" - -Guido took the dog from Tony's arms. Guido was dark and oily. He smiled. -But Tony did not smile. Two big tears stood in his eyes. His rosy mouth -did not curl. It trembled. - -"So you love my Tina very much, yes?" asked Guido. He laid his hand on -Tony's little brown cap. "You would like to own her, eh?" - -"What do you say?" screamed the old woman. "Talk louder! I cannot hear." - -"The boy would like to own the dog," repeated Guido, louder. - -"He would like to own the world!" shrieked the old woman. - -She started to drag Tony away, but he escaped her and ran back to Guido. - -"Let me stay with you!" he cried. - -Then he lowered his voice so the old woman could not hear what he said. - -"The witch is cruel to me," he whined. "She beats me every morning. Ah, -I am not happy." - -"What is that? What is he saying?" squealed the old woman, straining to -hear. - -But Tony kept his voice low. - -"Let me live with you, sir!" he went on. "I am a good boy and always do -as I am told!" - -Tony's guardian took hold of the Marionette Man's sleeve. - -"Please, sir," she implored. "You must not believe the tales Tony tells -you. I am sure they are lies. I have been good to him. But each day he -comes home with pockets empty. Yet I know he has begged money from the -foreigners and has spent it on the way home." - -[Illustration: LAKE COMO] - -Guido gave Tony an amused look. - -The old woman continued, "Always animals!" she groaned. "This stupid -child would feed every cat, dog, goose, and donkey while I starve!" - -In a way, the old woman was right. Tony did just this with his money. -He spent it on food for stray animals. - -Or, sometimes he gave it to beggars who sat on church steps. They were -not so fortunate as he. For he was beautiful to look at and people -always believed his sad tales. He was a splendid actor. - -He also knew that the old woman had enough for herself. So why should -he bring home his pennies when men and beasts starved on the streets? - -But he did not put it this way to his guardian. It was so much easier to -turn his pockets inside out and say, with a roguish smile, "Niente! -(Nothing!)" - -"How would you like me to take the lad to live with me?" asked Guido, the -Marionette Man. - -"Heaven protect you, sir!" cried the old woman. "You do not know Tony!" - -But here she was wrong, for Guido did know Tony. He had often watched -him on the streets, begging. Such a clever child would be able to help -in the Marionette show. - -"Let me have him," said Guido, pleasantly. "I am not afraid of little -boys who do not tell the truth. I will teach him as I teach my little -trained dog, eh?" - -He laughed and looked into Tony's eyes. Tony smiled at him and brushed -away the tears. - -"Yes, I will come to live with you--and with the little dog," he said. -"Then I can be with her always!" - -"Yes, indeed," agreed Guido. He turned to the old woman. "Are you -willing?" he asked. - -"Willing?" she cried. "Do you ask one who suffers with toothache if he -is willing to part with the aching tooth? He is a rascal and cares -nothing for me. Indeed I am willing to let you keep him. Yet--" - -She hesitated. A softer expression came over her face. - -"You must promise to be good to him," she added. "His mother was my -friend. When she died she left him in my care. For her sake, you must -promise to treat Tony well." - -"I shall treat him as if he were my own," replied Guido, the Marionette -Man. - - - - -CHAPTER II - -TONY AND THE BALILLA - - -Several weeks passed. Tony was living with Guido. - -Each day the Marionette Man sent him to the hotels to beg. Each evening -he had to help with the show. He set the tiny stage and dusted the -theatre. - -If he did not do his work properly, Guido would smile and say, "No supper -tonight for lazy people!" - -This would not have mattered so much to Tony if it had not been for Tina. -But when Tony did not eat, then neither did Tina. - -The small scraps that Guido threw to the dog were not enough to keep her -alive. So Tony always divided his meals with the friend he loved. - -[Illustration: "I DIE OF HUNGER!"] - -Today, as usual, Tony, with his dog, trudged along on his way to the -hotels. Once there, he stood outside of one and waited. Two foreign -ladies appeared at the door. Immediately, tears gathered in Tony's eyes. -He ran up to them eagerly. - -"Ah, dear ladies, I am a poor, orphan boy!" he moaned in Italian. Then he -burst into English: "No mudder! No fadder!" he wailed. - -The ladies looked at him pityingly. But just then the hotel manager came -out. - -"Go along!" he commanded Tony. "You are not allowed here. Run!" - -He shooed Tony as if he had been stray chickens. Tony scampered a few feet -away. When the hotel manager had gone, he again began to make mournful -signs to the strange ladies. - -But now they only laughed and shook their heads, for they knew what a scamp -he was. So Tony laughed, too, and began to sing good-naturedly. A Naples -street boy is like that. - -The ladies drove off in a carriage and as they passed they threw money to -the rascal. You see, nobody ever took the trouble to explain things to -Tony. Foreigners enjoyed his pretty acting, which only spoiled him. - -For several hours Tony stayed around the hotels, dodging hotel managers, -and crying his way into the hearts of strangers. Then, he started toward -the place he called home, walking along the broad drive that faces the -Bay of Naples. - -Naples is built like a giant theatre stage. The shore is where the plays -take place. The shining Bay is the vast blue audience. - -Out, facing the shore, is the famous Castle of the Egg. Many stories are -told about this historical building. - -It was once the home of Lucullus, a Roman general who was very fond of -eating. - -One legend tells that the poet, Virgil, put an enchanted egg between the -walls of the castle. So long as this egg remained in its place, the city -of Naples was supposed to be safe. - -But the real reason for the castle's strange name is, no doubt, its -egg-like shape. - -High up on a hill of Naples is a park of rare beauty. From here one -looks down upon the island of Nisida. Like the Castle of the Egg, this -island was once the home of great Roman generals. Today they are -both prisons. - -But let us go back and find Tony. He now turned into the crowded part of -the city where the noise and the smells begin. He felt more at home there. -He stopped and bought a meal of fresh fish for Tina at a small stand. - -Then he stuffed himself full of macaroni and candies. At last he had only -a few pennies left. - -A boy in uniform had been watching Tony. He was dressed in olive-green -breeches and black shirt. He wore a small cap with a tassel on it. - -He belonged to the Balilla, the Italian Boy Scouts. The Government is -directing them in sports and work of all kinds. They are growing up to be -strong and loyal to their country. - -[Illustration: "I WANT TO HELP YOU," SAID THE BOY] - -"Hello," said the boy to Tony. - -"Good-bye," said Tony to the boy. - -He began to saunter off. - -"Wait," said the boy. "I would like to speak with you." - -Now, every young Italian hopes to join the Balilla. So, of course, Tony -did, too. But how could a little beggar, who had hardly enough to eat, -expect to belong to such a grand company? - -Tony did not even want to talk with this modern son of Italy. - -"I must go," he mumbled. - -But the boy walked over to him and began to speak earnestly. - -"I just noticed that you were very hungry," he said. "Why was that?" - -Tony's eyes gleamed angrily. "Because I had eaten too much!" he snapped. - -What right had this fellow to detain and mock him because he was poor? - -"I mean no harm," said the lad. "I only want to help you. Do you know -that you may join the Balilla if you want to?" - -"I?" inquired Tony. - -[Illustration: BOYS OF THE BALILLA] - -"Yes, you, or any other boy who wishes to join." - -"But I have no money to pay for the uniform," said Tony. - -"If you cannot pay, the State will give you a uniform. Every boy in Italy -should belong to the Balilla." - -As he said this he saluted. His arm shot out stiffly, the palm of his -hand exposed. He drew himself up like a soldier. - -"It is fine to march with a band," he went on. "The State will help to -educate you and will send you to a seaside camp in summer." - -"A poor boy like me?" Tony's eyes were wide. - -The other smiled. "Have you never heard how the Balilla started?" he -asked. - -Then he told Tony about another poor boy who had lived in Genoa years -ago. When the Austrians attacked his city, he threw a stone and started -an uprising. The enemy was driven away. - -"That boy's name was 'Balilla,'" explained Young Italy. "Before he threw -the stone, he went forward with the words, 'Shall I begin?'" - -Tony's face shone with pleasure. - -"Shall I begin? Shall I begin?" he muttered to himself. Why not? It would -be glorious to march through the parks, waving banners. He would study -hard and learn to be a soldier. - -But then, Tony thought of the training and discipline. He did not want -to be trained. He wanted to run wild and beg money of foreigners. - -And what of Tina? There would be no place for a little dog in a military -group of boys. - -Besides, Guido would never allow him to join. Guido needed him. - -But suppose he should run away from Guido? Oh, then he felt sure that the -Marionette Man would starve Tina. - -[Illustration: TINA WAS VERY SERIOUS] - -Tony always saw that the dog had enough to eat. It was he who cared for -her, dressed her in her fancy costume and put her through her little -tricks between each act of the puppet show. - -She slept with Tony and did not have to shiver outside any more. No, -Tony could not leave Tina! - -"Will you come with me now?" asked Young Italy. "Will you begin?" - -Tony wiped the traces of macaroni from his mouth. He looked straight -at the boy in uniform. - -"I do not wish to join," he lied. - -Then he ran off. - -When he reached home Guido asked, "Where is the money?" - -Tony handed him two pennies. - -Guido laughed. "The rest! Come, that is not all!" - -"It is all," said Tony. - -He was not even thinking of what he was saying. He was thinking only -of the Balilla and of the words, "Shall I begin?" - -"If you do not give me all the money, you and the dog will get no supper -tonight!" growled Guido. "Come, how much did you make?" - -"Shall I begin?" muttered Tony. - -Guido looked at him curiously. Had he lost his wits? - -"What are you mumbling about?" asked the Marionette Man. - -Tony shrugged his shoulders. "I should lie if I told you!" he answered. - -This was Tony's favorite expression. It means "I don't know" in the -language of Naples. But in Tony's language it meant exactly what it -said! - - - - -CHAPTER III - -NIKI - - -Italy! When you hear the word do you think, as I do, of beautiful -paintings and music? Of organ grinders, macaroni, and marionettes? - -The finest little marionette actors (or puppets) are made in Italy. -Naples is where they have been most popular. - -Today there are few left. Motion pictures have come to Naples as to every -other city in the world. - -Guido's theatre was a small place with crude, wooden benches. Tony helped -Guido work the puppets. Mrs. Guido played the squeaky piano. - -But the marionettes were really handsome. There were Kings and Queens in -velvet and purple. Knights in armour. - -[Illustration: THE MARIONETTES WERE VERY HANDSOME] - -Tina performed between the acts. She amused the audience while the scene -was being changed. - -She would walk in on her hind legs, a ruff around her neck. She would -throw kisses and nearly topple over backwards. - -She would turn 'round and 'round in a sort of old-fashioned waltz. She -might have been a white, furry merry-go-round but for the pink tongue -that popped out so frequently. - -When she finished her part, she always ran straight to Tony. While he -worked a puppet with one hand, he untied her ruff with the other. He knew -she disliked the stiff thing. - -This afternoon the theatre was well crowded. It was Saturday. As Tony -lifted Tina up on the stage, she turned and licked his face. Then, out -she waltzed and the people began to clap. - -When the clapping stopped, a child's voice suddenly piped up, "Oh, it's -Niki! Papa, Papa, it's Niki!" - -There was some laughter and whispering, and everyone turned to look. - -Tina made her final bow and her part was over. - -[Illustration: THE MARIONETTE THEATRE] - -After the show, as Tony was putting away the marionettes, a gentleman and -a little girl came to the back of the stage. They approached Guido. - -Tony heard angry talk between the two men. However, it did not interest -him until he heard the girl say, "I know it is my dog! I want my dog." - -Tony listened now. He heard Guido laugh nervously. - -"That is absurd," said Guido. "The little lady is mistaken. Tina is my -dog. She belongs to my show." - -The gentleman raised his voice. "My daughter is not mistaken," he said. -"That is her dog!" - -"It was stolen from us," added the little girl. - -"We searched for it all over Naples but could not find it," continued -her father. - -"I want Niki!" pleaded the child. - -"You have stolen my daughter's pet," said the gentleman. "I demand it -back!" - -Now Tony entered the scene. He held Tina close. The little girl put out -her arms and cried, "Niki! Niki! I want my Niki!" - -"Her name is Tina," said Tony. "She belongs to Guido--and me." - -[Illustration: THE BAY OF NAPLES AND VESUVIUS] - -"That is not true," said the gentleman. "This Guido, your father, has -stolen our dog. If he does not give it back at once, I shall call the -police!" - -Guido looked afraid and Tony noticed it. He must think of a way to save -Tina! With a broad grin the young beggar stepped up to the little girl. - -"It is true that Guido stole your dog, Niki," he said. "But this is not -Niki. You see, that was a long time ago and Niki died. Ah, poor thing!" - -He wiped away a false tear and stroked Tina's head fondly. - -"This is our own Tina," he added. - -"Oh, Papa!" wailed the poor little girl. "Niki is dead!" - -But the father was not so easily deceived. "Give me the dog," he said. -"I wish to see it more closely." - -Tony started to draw back with Tina, but the man snatched her out of -his arms. - -"What you have told me is a lie," he declared. "This is indeed my -daughter's dog. I recognize her by the peculiar marking under her -chin." - -He glared angrily at Tony. - -"You are a lying little scamp as your father is a thief!" he said. - -Then, he took his daughter's hand and the two, with Tina, departed. - -Tony stood like a figure of wax. He hardly heard Guido raging beside him. - -"Now what shall I do?" stormed the Marionette Man. "I must have another -dog. You shall steal one for me, Tony." - -As he said this, he turned to face Tony, but the boy had vanished. - -Tony had run out of the theatre after Tina and her owners. Now he stood -on the street, watching them as they stepped into an automobile. - -As the car started, Tony sprang onto the back of it. He held fast. - -This was his first automobile ride! It was not a pleasant one. It seemed -to him, holding on with all his might, that it would never end. On, on, -they sped. Where to, he wondered? - -Tony had never been outside of Naples. But often he had read or listened -to tales of other parts of his country. He knew that Italy was a fine -land. - -The school textbooks told him that "Italy is blessed by God. It is strong, -powerful, and feared." - -He loved to learn all he could about it. He was proud of being an Italian. - -Now the automobile had come upon the open road. Tony could see the Bay. He -could also see the great volcano, Vesuvius, which towers over Naples. - -It is a fire-mountain and smoke is always coming out of its top. - -In olden days people believed that a lame blacksmith lived under the -ground. He kept a furnace burning to heat his irons. His -name was Vulcan and from it comes the word, "volcano." - -Tony had heard that this volcano, or fire-mountain, had often caused much -damage. Villages had been destroyed when the giant spat fire and ashes -to earth. Houses rocked and fell. Towns were buried. - -But Tony was not thinking of this now. He was wishing with all his heart -that the car would stop. Until it did, however, he must remain at his -post. Tina was in that car! And where Tina went there went Tony! - -The thoughts went racing through his head as the car raced on. The father -of that little girl had called Guido a thief! Tony shuddered. He -remembered the time when the old woman had called him a thief. How -terrible it had made him feel! - -[Illustration: ANNA'S HOUSE] - -Thieves were bad men. Guido was a bad man. And they thought he was Tony's -father! What an insult! - -The car was slowing up. It stopped before a white house with trees and a -garden surrounding it. The gentleman and his daughter, with Tina in her -arms, got out. - -[Illustration: CAPRI] - -They went inside the house. Tony saw the front door close behind them. -He slid down from the back of the automobile. He ran to the house and -crouched under a window. He could look right into a room. - -He saw a sweet-faced woman greet the little girl and her father. She -kissed them both. Then she noticed Tina in the child's arms. - -"Why, Anna!" she exclaimed. "It is your little dog that was lost!" - -The girl named Anna laughed happily. She showed pearly teeth. Her whole -face lit up with joy. - -"Yes, Mama, it is Niki," she said. "At last we have found her! I am so -happy!" - -The father told how they had discovered Niki in the Marionette theatre. - -"It was the Marionette Man who stole Niki away from us," he said. "She -was performing on the stage." - -"And, oh, Mama!" exclaimed Anna, "his little boy said that Niki died, and -it wasn't true at all! That boy was a story-teller, wasn't he, papa?" - -"He was a young rascal," replied her father. "Still, he had such an -intelligent face. What a pity!" - -Tony, under the window, drew closer to listen. - -"The lad is already a clever liar and no doubt a beggar as well," Anna's -father continued. "One day he will become a thief like Guido!" - -Tony crouched lower and winced. "A thief like Guido!" The words had a -dreadful sound. - -"I should like to train that boy," remarked Anna's father. "I would -discipline him!" - -The gentleman looked very fierce as he said this. He frightened Tony, -who hated discipline! - -But if Tony had known exactly what he meant, he would not have been -frightened. Anna's father had always wanted a son of his own. He would -have been very proud of a son. - -[Illustration: TONY DREW CLOSER TO LISTEN] - -He would have taught him to be a loyal Italian. For Anna's father was a -real patriot. - -Robert Browning, the poet, has said, "Open my heart and you will see -inside of it--Italy." If Anna's father had been a poet, he might have -said something like this. - -"Dinner is ready," announced Anna's mother. - -Tony watched as the family left the room. He knew that they had gone -into the dining room. He waited patiently beneath the window until -they returned. - -When they came back, Anna's father eased himself into an armchair. - -"Come, little Anna," he said. "I am going to read to you." - -Anna crawled on to his lap with Tina clasped lovingly in her arms. Tina -had a puffed, happy look, as if she, too, had dined well! - -Tony smiled to himself. He was going to hear Anna's father read stories. -No one had ever read to Tony. He loved reading. - -The night was warm. The moon shone. The window was open. Tony listened. - -Would you like to listen, too? - -Very well. - -Wouldn't Anna's father be surprised if he knew about his big audience? -Under the window is a poor Italian boy--Tony. Out in the great United -States are other boys and girls--you who are reading this tale! - -So be very quiet and don't make a noise for fear of disturbing Anna's -father while he reads. - -Let us crouch under the window with Tony! - - - - -CHAPTER IV - -ROME - - -"Tonight," began Anna's father, "we are going to read about one of our -Italian cities. Many fine stories have come out of it. - -"Rome is called 'The Eternal City' because there is a saying that it will -live forever. It is built upon seven hills. - -"A long time ago there lived a great artist named Michelangelo. He built -the dome of St. Peter's Cathedral in Rome. This is the largest church in -the world. Thirty services may be conducted in it at the same time. - -"The bones of St. Peter are believed to have been buried beneath the -Cathedral. - -[Illustration: ST. PETER'S: ROME] - -"But the oldest church of all is the Pantheon, which means 'all the Gods,' -It was built when people worshipped more than one God. It has no windows -but only a hole in the top called an 'eye.' Today it is the burial ground -of renowned writers and artists. - -[Illustration: THE PANTHEON: ROME] - -"Near Rome are the famous catacombs. It was here that the early Christians -buried their dead. - -[Illustration: THE VATICAN: ROME] - -"The catacombs are long, narrow passages with graves built into the walls, -one above the other. When the Christians were not allowed to worship in -their own way, they often fled to these underground cemeteries to pray. - -"There is a curious park in Rome," went on the father. "One which you, -little Anna, would like." - -Anna looked up. "Why, Papa?" she asked. - -"Because it is filled with cats," answered her father. "Tabbies and -Tommies, black and white, grey and yellow. They wander about and sprawl -in the shade of fine old trees. They have plenty to eat and nothing -to fear. It is a kitty paradise!" - -"I want to go to that park some day," said Anna. - -"There is a magic fountain in Rome," read her father. "It is said that -he who drinks from the Fontana Trevi will some day be drawn back to The -Eternal City. - -"The Appian Way is sometimes called The Queen of Roads. It was a great -highway built by the ancient Romans. Parts of it are still in use. - -"These ancient Romans were very clean. They dotted their city with many -fine public baths. We are able to see by the ruins how very handsome -they were. - -[Illustration: THE COLOSSEUM: ROME] - -"Outdoor theatres, called 'circuses,' were also numerous. The oldest of -these is the Circus Maximus, where races were held. - -[Illustration: INSIDE THE COLOSSEUM: ROME] - -"The Colosseum is a huge outdoor arena where slaves and criminals were -thrown to hungry lions. People sat about and enjoyed the show. - -"Of course the poor men were killed. But the audience watched this -terrible sport as naturally as we, today, watch a tennis game. They -pitied the victims no more than we pity the tennis balls!" - -Anna squirmed unhappily. "Now read something nice," she said. "The -story of Romulus and Remus, because I like the good wolf." - -Her father smiled and turned a page. Always stories about animals for -little Anna! - -"Here we are," he said. "The old myth goes that Romulus and Remus were -twin babies, cast upon the River Tiber by a jealous king. Their basket -floated ashore and was found by a mother wolf. - -"Taking pity on the babies, she brought them to her cave and cared for -them. But at last the good wolf was killed by hunters and Romulus and -Remus, now grown boys, ran away. - -[Illustration: TREVI FOUNTAIN: ROME] - -"A herdsman found them and gave them a home. They were very wild and -strong and they were wonderful hunters. - -"One day they learned the story of their lives. They discovered that -they were really meant to be kings. So they determined to punish their -enemy and take their rightful place in the world. - -"Remus was killed in battle, but Romulus became the first king of Rome. - -"The legend tells that, at this time, there were very few women in Rome. -Romulus wished his people to marry women of the neighboring cities. But -the neighbors refused to marry the Romans. - -"So Romulus invited a people called The Sabines to a great feast. During -the entertainment the Romans seized the young Sabine women and carried -them off. Later, however, this savage act was forgotten and the two -nations became one. - -"In 218 B.C. Rome suffered a defeat. Hannibal, a great general -of ancient Carthage, crossed the tall Alps and attacked the Romans. - -"His army consisted of 90,000 foot soldiers, 12,000 horsemen, and 37 -elephants. This march over the Alps is considered one of the most -wonderful military feats of ancient days. - -[Illustration: A PARADE PASSING THE COLOSSEUM: ROME] - -"Nero was one of the most wicked emperors who ever ruled Rome. In the -year 64 a terrible fire broke out. For six days flames swept the city. -Yet Nero made no attempt to stop the fire nor to help the suffering -people. - -"Some say that the cruel Emperor played upon his fiddle while Rome burned. - -"After the World War there came to Rome a new kind of King. He was really -not a king at all but...." - -"Il Duce! (The Commander!)" interrupted Anna. - -"Yes, my dear," agreed her father. "His name was Benito Mussolini, the -great chief of Italy. - -"Mussolini was a poor boy, the son of a blacksmith. Like wicked Nero, he -sometimes played upon his fiddle. But while he played, Rome did not burn. -It grew. - -"He founded a new system of government called Fascism. - -"A wise man once was asked, 'What is the best quality for a child to -have?' He replied, 'Obedience,' 'And the second best?' 'Obedience,' -'And the third?' 'Obedience!' - -"This is what the Fascist teachers believe. Their moral is: 'Be strong -to be pure. Be pure to be strong,' Il Duce has taught our people this -wonderful lesson. - -"At one time there were many lazy ones in Italy. Now we work and clean -and teach. It is better that way. Italy is a beautiful land. It is worth -working for." - -Tony, under the window, felt a great pride in his heart. He began to see -ahead into the future when he would be an Italian soldier. He would fight -for beautiful Italy! - -He waggled his head back and forth against the side of the house. He -muttered to himself, "Viva Italia! (Hurrah for Italy!) Viva! Viva.... -Ouch!" he cried suddenly. - -He had bumped his head! - - - - -CHAPTER V - -TONY AND ANNA - - -"Did I hear a noise outside?" asked Anna's father. - -Anna hugged Tina. "It must have been a little mama animal putting its -babies to bed," she said. - -Her father sighed. Some day Anna would be a little mama herself. That was -what Mussolini wanted all of Italy's women to be. - -But Anna's father would so have liked a son. One who would be more -interested in the Balilla than in "little mama animals." - -Yet he loved his daughter very dearly. He now kissed her dark curls as he -said, "It is time for bed, mia cara (my dear). Tomorrow night more -stories." - -Anna sat up in his arms. Tina awoke and blinked. - -"Before I go to bed, I must put Niki to bed, too," said Anna. - -Her father answered, "Then we must make a house for her." - -Tony saw him open a chest of drawers and take out some curious things. - -"Now," he said to his daughter, "Come into the back garden, and we shall -see what kind of house-builder I am!" - -Tony watched them leave the room and saw a light switch on in the hallway. -Then the back door opened. Father, daughter, and dog went into the garden. - -They found an old crate with the top missing. They covered it with what -appeared to be a fancy tablecover. They tied the little dog securely to -the side. - -"There!" said Anna's father. "It looks like a tent on the desert. Niki -will feel like an Arabian Princess!" - -[Illustration: "AH. TINA MIA, I HAVE FOUND YOU AGAIN."] - -Anna stooped down and caressed her pet. - -"Felicissima notte, Niki," said Anna. This meant "Happiest night, Niki," -and it is what the Italians say for "Good-night." - -When Anna and her father had left, Tony ran over to the kennel-tent. -Tina nearly wagged herself to pieces with joy. Tony sank down beside -her. He buried his head in her soft hair. - -"Ah, Tina mia (my Tina)!" he said. "I thought they had taken you from -me forever! But I have found you again." - -He started to untie the dog. He would run away with her. Far away! -Never back to Guido! Guido was a thief. A man who stole little dogs! - -Then, suddenly, Tony remembered that he, too, was about to steal a -little dog! He, too, would be a thief if he did that. Tina did not -belong to him. She belonged to little Anna. - -But how could he bear to leave Tina? A tear ran down his cheek. Tina -licked it sadly. She seemed to know what he was thinking about. - -How he longed to snuggle up close to the little dog and go fast asleep. -Just as he had done every night since he went to live with Guido. - -[Illustration: ANNA] - -Why did Anna have to love Tina, too? - -He would stay. Just tonight. He would crawl into Tina's tent with her. -In the morning he could decide what to do. He was so sleepy now. - -He yawned, brushed his tears away, and wriggled into the tent. He -curled up in there, with Tina in his arms. - -But just as sleep came creeping over him, a sound was heard in the -garden. Tony gave a start and opened his eyes. Tina gave a low growl. - -Tony looked out and saw a white figure approaching the tent. It was Anna. -She was coming back to see her new-found Niki once more. - -She would find Tony there. She would tell her father! What should he do? -His heart began to thump. He lay quite still. - -"Niki!" whispered Anna, softly. - -Silence. - -"Niki!" repeated Anna. "I have come to kiss you good-night. Here, Niki!" - -She bent down in front of the tent and looked in. It was dark inside. -Tony lay flat on the floor and kept very quiet. - -Anna put her hand inside the tent and felt for her pet. Tina tried to -hide from the hand, but it found her and lifted her out tenderly. - -Anna caressed the dog and spoke gently to her. - -"Now, Niki," she said. "You shall go back to bed and mama will cover -you up." - -She had brought with her a doll's blanket. She put Tina back into the -tent and tried to make her lie down flat. She could do this so easily -with her dolls. - -But, somehow, Tina was different. Tina did not want to lie down flat! -The real reason for this was because Anna was spreading Tina on Tony's -face! - -The poor dog struggled and kicked. The poor boy tried his best to lie -still and make no noise. But would you enjoy a dog plastered upon -your face? - -So Tony wriggled. He snorted. He sneezed. - -Anna saw. She heard. She started and gave a little cry. Tony's head -came out of the tent like a turtle's head coming out of its shell. - -[Illustration: "HUSH," SAID TONY] - -"Hush!" said Tony. - -Anna drew back. "Who are you?" she gasped. - -"I'm Tony," he replied. "Please let me stay here with Tina tonight. -Tomorrow I'll go away." - -Then Anna recognized him. "Oh," she exclaimed. "You are that naughty -Marionette boy who told a lie! I am going to call my father!" - -She turned toward the house but Tony quickly caught her arm. - -"No, no!" he pleaded. "I mean no harm. I love the little dog. Let -me stay. Only one night. Do not tell your father--please!" - -In the moonlight Anna could see that tears filled his eyes. She -began to feel sorry for him. - -"Are you a very poor little boy?" she asked, innocently. - -"Oh, yes, very, very poor!" he moaned. "I have no home. No mother. -No father. Everyone is cruel to me. The little dog was my only friend, -and now you have taken her from me." - -[Illustration: AMALFI] - -Tony was born with the Italian gift for beautiful acting. He now acted -his best for Anna. While some of his pitiful tale was true, some was -sprinkled with the fairy dust of fancy. - -"Every morning Guido beats me," he made up. "He uses a big stick. And -when he stops beating me, he makes me sing to him. Then, all day long -he feeds me bird-seed mixed with soap and nothing else!" - -Anna's gentle eyes grew wider and wider, her tender heart softer and -softer. - -Tony warmed to his work. His success encouraged him. He began to gesture -with his arms. He began to invent wild tales. - -"Often I fall upon the streets because I am so hungry," he continued. -"When it rains, Guido makes me lie outside the whole night through. - -"One morning, when I awoke, I found myself in a pool of water. I had -to swim all the way home!" - -[Illustration: TONY BENT LOW AND KISSED HER HAND] - -The little girl's lip began to tremble. This gave Tony added courage. -He drew a deep breath. His style improved. - -"And once I was thrown over a cliff. Lions came prowling...." - -He stopped, for little Anna had begun to cry. - -"Oh, you poor boy!" she sobbed. "I am so sorry for you! I shall tell -my father and mother. They will take care of you." - -"No, you must not do that," said Tony, quickly. "If your father knows -I am here, he will discipline me!" - -"But my father is good," said Anna. - -"That is why he will discipline me," replied Tony. "Because I am bad." - -Now, to a very little girl like Anna, that seemed sensible enough. She -believed what Tony told her. She even believed that her father might -not be kind to the beggar boy. Often her father was very severe. - -So she promised that she would not tell. - -"You may stay here every night, poor little boy," she said. "I will -bring food and leave it for you in a dish. I will put a soft cushion -inside the tent. I will never tell my father that you are here." - -"Ah, grazie signorina (thank you, Miss)," said Tony, charmingly. He -smiled and showed his white teeth. "How kind you are! And will you -also put some candy on the dish?" - -"Yes, I will, poor little boy," she answered. "What kind do you like?" - -Tony thought a moment. Then he replied, "Torrone." (This is the finest -and most expensive Italian candy.) - -Anna promised to leave some torrone. Tony bent low and kissed her hand -as he had seen the marionettes do in romantic plays. - -"Felicissima notte, bella signorina! (Good-night, beautiful Miss!)" -he murmured. - -Again his play acting and falsehoods had brought him success! He did -not even know that he had done anything wrong. Poor neglected little -Tony! - - - - -CHAPTER VI - -CITIES, ANIMALS, AND DISCIPLINE - - -Next day Tony left Anna's garden early in the morning. He ambled along -the smooth motor road, singing and begging whenever he found someone -to beg from. - -On each side of the road were black posts with white caps on them, -glistening in the sun, polished to shine. Snow-white oxen passed, driven -by farmers. - -In vineyards grapevines climbed and twisted about old trees. In nearly -every archway a baby, a goat, or a donkey stood and stared at Tony as he -passed. - -Women and children with large baskets or bundles on their heads trudged -by. Tiny donkeys carried mountainous loads on their backs. - -[Illustration: ALONG THE ROAD, NEAR NAPLES] - -Occasionally, there would be an automobile. Tony liked the little cars -named "Balilla," after the Boys' Group. They are the smallest Italian -cars made. - -[Illustration: ALONG THE ROAD] - -Tony bought chestnuts and munched them. Chestnuts often take the place -of bread among the poor people. - -Toward the end of day Tony began to miss Tina. He had seldom been -separated from her for such a long time. So he returned to Anna's house. - -He hoped that Anna had not forgotten to leave his dinner. He also hoped -that her father would not forget to tell more stories tonight. This was -a pleasant life. - -But, of course, Tony was too wise to think that he could go on living -like this forever. Guido might find him. Or Anna's father might discover -him. - -Yet if he ran off with Tina he would be a "thief like Guido!" No, that -would never, never do! - -Oh, how difficult it all was! - -But upon arriving at Tina's tent he forgot his troubles, for he found -there a neatly covered dish. It contained macaroni, meat, and salad. -An ideal meal for an Italian boy! - -Also, Anna had really left some torrone on the plate. Tony sighed with -pleasure and began to eat. Good little Anna! - -All day the little girl had been thinking of the beggar boy. However, -she had kept her adventure a secret. - -But, oh, Tony, beware! Anna is very young, and it is difficult for small -children to keep secrets. Especially, when secrets are as interesting as -you are! - -This evening the weather was cooler. The moon did not shine. When Tony -finished his dinner, he slipped under the window as he had done before. -He hoped Anna's father would tell more stories of Italy. - -Presently, he saw the family enter the room. They had dined. The mother -took up her sewing. The father settled himself in his chair with a book. - -Anna, with her dog, nestled down in his lap. Tony knew that now more -stories were coming. He leaned against the side of the house. - -[Illustration: FLORENCE AND THE ARNO RIVER] - -He closed his eyes contentedly and listened. - -[Illustration: PIAZZA DELLA SIGNORIA: FLORENCE] - -"It is early," said Anna's father. "We shall have a long time to read -tonight. Shall we hear more about the cities of Italy?" - -[Illustration: ST. MARK'S: VENICE] - -"Yes, and about animals, too," said Anna. - -Her father laughed. "Perhaps we shall meet some as we wander," he said. -"Listen, now, while I tell you of Florence. - -"It is a city of ancient palaces! In the days of the civil war, homes -of the rich were built like fortresses. This was to protect them from -the enemy. Most of these prison-like palaces still stand. - -"Florence is a city of art! The famous Campanile, or bell tower, -reminds us of its artist-architect, Giotto. Here is a story told -about the painter when he was a peasant lad tending his father's sheep. - -"One day a great artist named Cimabue paid a visit to the countryside. -He was impressed by a sketch which the young shepherd had made. - -"He gained the consent of Giotto's father to take his son to Florence. -There he promised to teach the boy how to paint. - -"So Giotto became Cimabue's apprentice, or helper. He worked hard and -learned a great deal. But, like all boys, he was fun-loving. One day -he played a joke upon his master. - -"Cimabue had gone out, leaving in the studio an unfinished portrait of -a gentleman. When he returned, there was a fly sitting upon the nose -of his painting. - -"He tried to brush off the fly but it would not move. He looked more -closely and discovered what had happened. His mischievous young -apprentice, Giotto, had painted that fly! - -"The master was not angry. He enjoyed the joke and recognized the lad's -skill. - -"Giotto became known as the father of one of the first schools of -painting. - -"Florence is also a city of great men! - -"One day, long ago, a nine-year-old boy named Dante went to the feast -of flowers, which is celebrated every year. Here, among the beautiful -blossoms, he beheld one more beautiful and sweet than all the rest. - -"But this one was not a flower. She was a little maiden and her name -was Beatrice. All day long Dante watched her as she played about, and -never, throughout his whole life, did he forget her. - -"Though they seldom met, the little girl named Beatrice was forever -with Dante in his dreams. To her he wrote most of his marvelous poetry. -For Dante became Italy's greatest poet! - -"Florence, city of wonders! - -"A legend tells that when Christ went to heaven he carried with him -a cricket. So, each year, before Ascension Day, everybody buys a -cricket. - -"They guard their crickets most carefully. For, if one should die, -misfortune befalls its owner. - -"On Ascension Day a crowd gathers in the park. Here there is much -gaiety, with balloons, music, and fireworks. - -"At a certain time each person opens the door of his cricket's cage -and frees it. - -[Illustration: A CANAL IN VENICE] - -"This is an anxious moment. For, if the cricket leaps into the air, -good fortune will follow the owner. But if he creeps slowly away, -his poor owner will suffer bad luck. - -[Illustration: THE LEANING TOWER OF PISA] - -"Of course, today few people really believe this. But they still keep -up the quaint old custom. - -"Florence is a grey cluster of narrow streets and dignified squares. It -seems to bulge with art treasures, and it has a charm of its own. - -"Near Florence, in Pisa, is the curious Leaning Tower. It is one of the -Seven Wonders of the World. It seems to be toppling over. Yet it has -stood this way for hundreds of years. Maybe it is tired." - -Anna's father stopped reading. - -"Is my little girl tired, too?" he asked. "Shall I put down the book?" - -"No, no, Papa!" said Anna. - -Tony, under the window wanted to answer, "No, no!" too. But, then, his -opinion had not been asked. - -"The next story is about Venice," continued the father. - -"Once upon a time there lived in Italy a people known as the Veneti. -They were not fish, yet they built a city in the water. - -"Savage tribes had driven them from their land. They had no home. So -they settled upon some small islands at the head of the Adriatic Sea. -They called their island-city Venice. - -"Fish were plentiful. They salted them and traded them for treasures -of all kinds. People began to come from everywhere to buy these -treasures. Venice became the most important market in Europe. - -"St. Mark is the patron saint of Venice. To him the Veneti, or -Venetians, have built a wonderful cathedral. In front stands the -statue of a lion, the favorite animal of St. Mark. - -"Four huge horses adorn the door. Though they are made of bronze, they -have travelled widely. They have been moved to different places at -many times. - -[Illustration: THE BRIDGE OF SIGHS: VENICE] - -"Inside, the cathedral is decorated with mosaics. They are made of -bits of colored stone or glass fitted together. - -[Illustration: THE DOGE'S PALACE: VENICE] - -[Illustration: IN A GONDOLA] - -"St. Mark's Square is the largest piece of ground in Venice. The rest -is water. Streets are canals. Boatmen guide long, black boats called -gondolas through these canals. They sing and cry out strange signals -to other boatmen. - -"In years gone by Venice, like Rome, was a world of its own. A Doge, -or Duke, ruled over the city. - -[Illustration: FEEDING PIGEONS IN ST. MARK'S SQUARE] - -"Between the Doge's Palace and the prison is a bridge. Over this bridge -marched those condemned to prison by the Doge. As they marched they -sighed and that is why the bridge is known as 'The Bridge of Sighs.' - -"On one of the little islands live the glass blowers. Just as you blow -soap bubbles, so they blow melted glass into vases and bowls. Venetian -glass is famous. - -"There are hundreds of pigeons flying about St. Mark's Square. While -you are in Venice, you must surely allow a pigeon to sit upon your -head. If you do not do this, your visit will not be complete and I am -sure the pigeon will be disappointed! - -"Naturally (and this is most important to the pigeon) you must put some -corn on your head first. It is not your hair nor your hat which attracts -him! - -"Venice is a city of Dreams! And--animals!" - -The father looked up from his book. Anna laughed. - -"Yes, that is true," she said. "There was St. Mark's lion, the bronze -horses, the pigeons, and--and--oh, yes, the fish!" - -[Illustration: JULIET'S GRAVE: VERONA] - -"You have forgotten some of the other animals we read about in the -stories of other cities," said her father. - -Anna looked puzzled. - -"Don't you remember the crickets of Florence?" asked her father. "And -that fly which Giotto painted on the nose of Cimabue's painting!" - -"Oh, that was a nice chapter," said the little girl. "Now some more." - -Her father began to read again: - -"The greatest playwright in the world was Shakespeare. He was an -Englishman. He wrote a play called 'Romeo and Juliet.'" - -"Was it about animals?" asked Anna. - -"No," smiled her father. "It was about two lovers. It is a very famous -story and the scene is laid in Verona, an Italian city. - -"In Verona there is a beautiful little grave where they say Romeo and -Juliet are buried. The statue of Shakespeare stands over it." - -"But how can they be buried if they were only book people?" asked Anna. - -"That is a good question," said her father. "Of course, it cannot be -true unless such people really lived." - -[Illustration: WASHING CLOTHES] - -"Maybe they buried the book which Mr. Shakespeare wrote!" decided Anna. - -Just then there came a queer, muffled noise under the window. Tony had -sneezed! Anna's father, turning the pages of the book, did not seem to -hear it. But Anna, who had been thinking of Tony, did. - -She wanted so much to tell her father about the poor boy. She really did -not think that her father would be unkind to him. Yet she had promised -to say nothing, and she must keep her word. - -"Papa," she suddenly asked. "If you had a little boy who told stories -and did not obey, what would you do to him?" - -Her father hesitated a moment. Then he answered, "I would try to teach -him the beauty of truth and I would discipline him." - -His voice had a very severe ring. He continued: - -"There are too many lazy little beggars in the streets of Naples, like -that lying young son of the Marionette Man. They have never been properly -trained, and they are a disgrace to a beautiful city. They should be -taught. They should be made to obey!" - -Upon the word "obey," his hand came down with a bang on the arm of the -chair. It made Tony jump. - - - - -CHAPTER VII - -STATUES, MUSIC, AND CHEESE - - -Tony, under the window, squirmed unhappily. He was everything that Anna's -father had called him. Lazy! He begged! He did not always tell the truth. -He was a disgrace to beautiful Naples! - -But he did not want to be disciplined. He did not want to obey. He was -afraid of Anna's father with his ideas of discipline. - -He shivered and huddled up closer to the house. It was growing colder, -and his nose felt stuffy. How warm and cosy it looked inside! - -Anna's father found the page he had been looking for. - -"Now," said he, "we are going to hear about a strange mixture of things. -Statues, sailors, music, and cheese!" - -[Illustration: A FISH MARKET IN GENOA] - -Tony forgot the cold. He even forgot Anna's father except for his deep -voice. - -"The city of Genoa," read the deep voice, "is Italy's chief seaport. -Its streets are lined with palaces. It seems that everything in Genoa -takes place in a palace. Even schools are sometimes found in palaces! - -"The city is surrounded by forts and strong walls. - -"The Palazzo San Giorgio is the oldest bank in Europe. Here there is a -curious collection of statues. - -"They are the statues of men who have given money for public good. If -you see a seated statue, you will know that this man gave a large gift. - -"If a statue is standing, it means that the gift was not so large. No -doubt, they wish to make the generous ones more comfortable. - -"Genoa might be called 'America's Cradle.' Do you know why?" - -Anna did not know. But Anna was an Italian girl. You, who are Americans, -surely know that Genoa was the birthplace of Christopher Columbus. - -[Illustration: COLUMBUS' HOUSE: GENOA] - -"Christopher Columbus used to play about the water front when he was a -little boy," read Anna's father. "When he grew up, he sailed off one -day and discovered a new country--America! - -"Genoa possesses one of the largest theatres and one of the finest -cemeteries in the world!" - -"I would rather go to the theatre!" declared Anna. - -Tony agreed with her. - -So did Tina. For, at that moment, she gave a rumbling grunt, yawned, -and went back to sleep. - -Anna's father read on: - -"In 1813, in the Province of Parma, a baby by the name of Giuseppe -Verdi was born. One year after this, a terrible battle took place -in the village. - -"Women and children rushed to the church for protection. But the enemy -broke into the church. - -"Among these poor villagers was the mother of Giuseppe Verdi. With her -baby in her arms, she fled up into the belfry tower. Here she hid -until all danger from the battle was past. - -[Illustration: A QUAINT ITALIAN STREET] - -"Think what the world would have lost if she had not done this! For that -baby became the father of Italian opera! - -"His haunting melodies are sung everywhere. You have heard them though -you may not know it. - -"When Verdi was a little boy, he used to assist the priest in church. -One day the notes of the organ carried him far away to dreamland. He did -not hear the priest ask for some water. - -"No water came. The priest waited. Then he repeated, 'Water!' Still no -sign from Giuseppe. - -"'Water!' The priest was growing angry. He touched his dreaming assistant -with the toe of his shoe. Down the steps, head first, fell young Verdi! - -"The older he grew the more Verdi loved his native land. At this time -the people of Italy were ruled by the Austrians. They were unhappy and -wanted their own king, Victor Emmanuel. - -"Verdi's music always stirred within them a deep love of their country. - -"It was found that the name 'Verdi' could be spelled by using the first -letters of the words, '_V_ictor _E_mmanuel, _R_e _d_'_I_talia' (which -means, in English, "Victor Emmanuel, King of Italy"). - -"The Italians would cry 'Verdi! Verdi!' The Austrians thought, of course, -that these were only cheers for the popular composer. But they were -really crying, 'Victor Emmanuel, King of Italy!' Had the Austrians -known this, they would have been very angry." - -Anna's father looked up from the book once more. - -"Did you ever hear the saying, 'From the sublime to the ridiculous?'" -he asked. - -"No, Papa," said Anna. "What does it mean?" - -"It might mean," he replied, "that we are now going from beautiful -music to cheese!" - -Tony wondered whether the gentleman had suddenly lost his wits. - -"Of course, cheese is not at all ridiculous if you like it," he went -on. "And most Italians do like it. - -"Macaroni without cheese is like Mexican tamales without chile. It -is like fish without chips in England, or sausage without sauerkraut -in Germany! - -"Parma is not only the home of a famous composer; it is also the home -of a famous cheese! When I was there, I saw a poster of three, -huge-nosed gentlemen sniffing at a piece of Parmesan cheese. Their -eyes bulged with delight. - -"Just as Verdi once was carried away by music, so these gentlemen were -carried away by the odor of cheese!" - -Tony saw Tina's black nose wriggling in her sleep. He almost laughed -aloud. Did the little dog understand what was being said? - - - - -CHAPTER VIII - -DANGER! - - -Tony was cold. He wanted Tina. He hoped that soon Anna would come out -to put the dog to bed. But as soon as that happened, the stories would -have to stop. - -Tony did not want them to stop. If only he had Tina and a warm blanket! -Then he would stay beneath the window and listen as long as the stories -continued. What fun! - -He sneezed again. - -Anna sat up in her father's arms. - -"I must go now and put Niki to bed," she said. "Then I will come back." - -Tony saw her climb down from her father's knee. Tina woke up and -blinked. Anna left the room, and Tony knew that she was coming out to -the garden. - -[Illustration: MILAN CATHEDRAL] - -He ran over to the dog's tent and soon Anna arrived. - -"Hello, poor little boy," she said. "I heard you under the window. Are -you cold? Are you sad?" - -"Ah, Signorina," wailed Tony. "I am nearly dead!" - -He made a most horrible face. - -"Today I have walked miles and miles, but nobody would help me or give -me anything to eat. They only kicked me off the road and--will you -bring me a blanket?" he asked suddenly. - -"Yes," she said. She put Tina into his arms. "Hold Niki and I will go -into the house for one." - -She ran back. Tony, with the dog in his arms, crouched once more under -the window. Through it he saw Anna come into the room. Her father called -her to him. - -"Come," he said. "One more chapter and then to bed." - -Anna's face fell. What should she do? She had promised to bring Tony -a blanket. Yet she could not say so. She must stay here until her -father finished reading. - -"Now," he began, "we shall visit Italy's largest city, Milan. The pride -of Milan is her beautiful cathedral. It is built of white marble brought -from the quarries by canal. The canal was built especially for that -purpose. - -"With its two thousand slender spires, this cathedral is like fairy -lace. Stories are told upon the many beautiful windows of stained -glass. - -"In the long ago, Milan was the fashion center of the world. Just as, -today, every lady wants a Paris gown, so, at that time, they wanted -Milan hats. They spoke of them as 'Milaners.' Can you see how the word -'milliner' was born? - -"From the hat to the shoe is a long way. The whole of Italy is shaped -like a boot. Milan is far up on the leg. Down at the tip of the toe is -the island of Sicily. - -[Illustration: VESUVIUS SEEN FROM POMPEII] - -"Sicily, originally settled by the Greeks, has often been called the -'football of Italy.' And it has truly been kicked about, for many -different nations have ruled it. - -"It is a beautiful island. Yet for many years its people have been -gradually leaving it. Many thousands went to America. - -"At one time the United States bought quantities of lemons from Sicily. -Now the Americans are growing their own. - -"There is a volcano on the island called Mt. Etna. Great sulphur mines -were made by this volcano, and for years Sicily supplied the world with -sulphur. But now the United States also supplies sulphur. - -"Another volcano is that of Stromboli. It is an island off the coast of -Sicily. For two thousand years this fire island has been like a glowing -torch in the water. It is therefore called the Lighthouse of the -Mediterranean Sea. - -"And while we are speaking of volcanoes, here is the terrible story of -Pompeii. I have told you many legends, but this tale is true. - -"Hundreds of years ago a beautiful little city called Pompeii nestled at -the foot of Mt. Vesuvius. - -"Here men, women, and children lived happy, carefree lives. Their -houses were small jewels. They feasted and lived in luxury. Pompeii -was a pleasure city. - -"Then, one day, a frightful thing happened. The volcano, Vesuvius, grew -very angry. Black smoke gushed from the hole in her great head. Ashes -and hot stones came tumbling down upon Pompeii. The earth rocked. -Thunder roared. Darkness fell upon the town. People fled, groping -their way through the streets. - -"Next day Pompeii, the jewel city, lay buried beneath the earth." - - * * * * * - -Tony felt a chill run up his back. He glanced at the fire-mountain -behind the house. Then he looked into the window again. Anna lay very -still in her father's arms. - -Anna had heard that story many times. Besides, Anna was very young. -She was now asleep! - -"Wake up, little sleepy one," said her father. He smoothed her hair -gently. - -Anna stirred and rubbed her eyes. She had been dreaming about Tony. Oh, -Tony, your secret is in danger! - -All at once she sat up straight and looked about in a startled way. - -She cried, "I must go out to Tony, Papa! I promised to bring him a -blanket!" - - - - -CHAPTER IX - -THE BURIED CITY - - -Tony clutched Tina and started. Anna's father looked at his daughter in -a puzzled way. - -"Who is Tony and what do you mean?" he asked. - -Then poor little Anna's heart sank. She had given away her friend's -secret! - -Tony balanced himself on his toes, squatting, ready to run. He saw -Anna burst into tears, heard her pour out her whole story. - -"He is such a poor little boy, Papa!" she wept. "He is so hungry and -cold! But I promised I would not tell and now ... oh...." - -She sobbed pitifully. Her father held her close. - -"There, my darling, don't cry," he said. "Tony is a bad boy. Come, let -us go out there to him and...." - -Tony did not wait to hear more. With Tina clasped tightly he ran. He -ran as fast as his legs would carry him, out, on to the main road. - -He saw Vesuvius towering above, a terrible giantess puffing on a -poisonous pipe! Would she ever again break out in anger? - -The wind blew. It had started to rain. The night was so black. - -His legs ached. But he must run, run far away from Anna's father. He -could never, never go back again. Now he was really a thief. He was -running away with Tina! - -The little dog began to shiver in his arms. He stopped for a moment, -took off his coat, and wrapped it around the animal. - -The rain came down harder and harder. Finally, Tony found a haystack, -and the boy and dog cuddled down for the night. - - -Early morning brought a blue sky. The rain was gone. The Bay shone -and the smoke from Vesuvius sailed straight up in a thin grey line. - -[Illustration: THE APPIAN WAY - _Photo by Courtesy of Italian Tourist Information Office_] - -But Tony awoke in a fever. Tina stood beside him, her tail beating a -pleasant tune on the ground. Her sweet, white face smiled down at him. - -Why did he not jump up and play with her as he always did in the -morning? Why did her little god lie so still? - -Tony's dark eyes sparkled unnaturally. There were red patches on either -cheek. - -For a moment he could not remember where he was. Then it all came back -to him. Anna! Anna's father! - -He had stolen Tina! He was a thief! - -He sat up suddenly. Perhaps they were already looking for him. - -He shivered and put on his coat. It was damp. Tina barked joyfully. They -were going for a walk! - -It was a long walk! Miles and miles. Hours and hours. Tony's head -throbbed. His feet ached. Tina's tongue swept the ground. - -At last they reached the buried city of Pompeii. Its ruins are now the -most famous in the world. Tourists visit it every day. Tony knew this. -He stood beside a wall and began to beg. - -"I die of hunger!" he whined. - -[Illustration: POMPEII] - -It was a lie. Tony felt too ill to eat. But he wanted to buy food for -Tina. - -He screwed up his face and added in English, "Poor leetle boy!" - -[Illustration: HOUSE OF THE VETTI: POMPEII] - -"Go away from here!" roared a guide. "And take that dog with you!" - -Tony scampered. He knew that dogs are not allowed in Pompeii. He -crouched beside a fence. When the guide's back was turned, he slipped -under the fence. - -He was inside the gates. He was in Pompeii. Really inside the gates -of Pompeii! Standing upon the long, silent streets, in the shadow of -stately ruins. - -Columns and statues stood like graceful ghosts. It was a place to -impress any child. To Tony, light-headed with fever, it was a wonder -and a dream. - -A guide came along, leading a party of tourists through the streets. -To Tony his voice droned like a swarm of bees. - -"It was a city of pleasure and wealth," said the guide. "Tinkling -fountains played. Painted chariots clattered over the cobble-stones. -Boys and girls laughed and sang." - -Tony saw it, felt it, heard it all! - -"See the tracks of the chariots in the pavements," droned the guide's -voice. "The plumbing was so good that the fountains are still running -today." - -Tony followed them through restored palaces, courtyards, wine shops. - -Some of the houses had four dining rooms--one for each season: Spring, -Summer, Fall, and Winter. Before one house was the word "Have." This -means "Welcome" in Greek. The Fascists say this when they salute. - -In the old Roman Bath was a case with images like mummies. The guide -entered the building with his tourist train--a train of human question -marks. - -Tony followed. He hid in a dark corner so they would not see him. - -"Here we have the forms of some of the ancient people found in the -ruins," explained the guide. "They are, however, only hollow forms. -They have been surrounded by lava." - -"What is lava, Mama?" squeaked a tourist child. - -"Hush!" said the mother. - -[Illustration: A STREET IN POMPEII - _Photo by Courtesy of Italian Tourist Information Office_] - -"I want some if it is to eat!" howled the child. - -"Lava," said the guide, "is the fiery fluid which comes out of a -volcano during an eruption. When it cools it hardens and becomes -like rock." - -"I don't want to eat any!" decided the child. - -"Here is the form of a dog," went on the guide. - -"I want a 'hot dog,' Mama!" whined the child. - -They finally left the building. Tony heard the child's irritable voice -far down the street. He came out from his corner. The building was -empty. - -He looked at the strange, rock-covered images. The little dog was about -the size of Tina. He shivered. He went outside. The sun had dropped -behind a hill. He could see Vesuvius puffing, puffing on her pipe. - -"Oh, you--you wicked one!" He shook his fist at the mountain. - -His head began to spin. The streets were more silent than ever, for -the sight-seers had all gone. Tall columns, like black knights, stood -guard over the buried city. - -Tony had heard the guide say that at a certain hour the gates would -close. Was that hour now past? Was he locked in the deserted city, -alone? Trapped, like victims of the volcano so long ago? - -He felt ill. He was burning with fever. He started toward the gate, -squeezing Tina until she grunted. - -Then, all at once, his legs seemed to disappear beneath him and he -sank to the earth. - -The ruins of Pompeii whirled all about him. Vesuvius blew a great -column of smoke in his face, and he knew no more! - - - - -CHAPTER X - -FEVER, FEAR, AND TROUBLED SLEEP - - -The next thing Tony knew, he was in ancient Pompeii. He was in the -buried city before it had been buried! - -"How could this be?" you ask. "A person cannot live in the past!" - -Ah, but Tony had arrived upon a queer ship. The name of the ship was -_Fever, Fear, and Troubled Sleep_. - -Tony really and truly lay upon the ground dreaming. He lay where he had -fallen when we last left him. But, in his dream, he was in old Pompeii. -Old Pompeii appeared to him just as Anna's father and the guide had -told about it. - -Tony believed that he lay in a corner of the Forum, the main square of -the town. It was night, and a group of beggars slept beside him. Tina -cuddled snugly in his arms. - -All about him slumbered Pompeii with the smoke from Vesuvius curling -above in the black sky. - -Tony looked up at the fire-mountain and, all at once, his heart seemed -to stand still. Why, that volcano was going to destroy Pompeii! It was -written in books of history! Everyone in the modern world knew it! - -But here nobody knew it. How could they? They were ancient people. He -was living in the past. Tony, the beggar boy, was the only one who knew! -He must tell them! - -He stood up. He saw those beautiful homes and gardens he had heard so -much about. Tomorrow they would be in ruins! - -Tomorrow? How did he know that the end would come tomorrow? Tony could -not explain. But he did know. Dreams are like that. - -[Illustration: OLD OLIVE OIL MILL: POMPEII] - -He woke the beggars. He warned them of the coming terror. Frantically -he tried to explain to them the danger of what was about to happen. - -"Vesuvius will erupt and destroy Pompeii," he said. - -[Illustration: POMPEII] - -But the beggars laughed at him. - -"Stuff!" said one. - -"Liar!" cried another. - -Then they went back to sleep. - -"You must believe me," cried poor Tony. "Run away before it is too late!" - -"Stop your silly talk," said one of the beggars. "If you do not let us -sleep, we shall have you arrested as a mad sorcerer!" - -Tony stole away with Tina under his arm. There was only one thing for -him to do. He must wake the town. - -Soon dawn would come. Then the mountain would begin to shoot flames and -the whole city would rock. - -He knocked at doors and tried to arouse the people. But angry, sleepy -voices told him to go away. Nobody would believe him. - -Tony began to wonder whether anyone would ever believe him again. He had -lied so often. And now he was a thief besides! - -He thought of little Anna. He had lied to her and he had stolen her pet. -He would be punished by the fire-mountain for all his wickedness! - -[Illustration: SORRENTO - _Photo by Courtesy of Italian Tourist Information Office_] - -But he and everyone else in Pompeii could still be saved if they would -only listen to him. - -He began to cry out in the streets and to run back and forth. A young -Paul Revere! - -"Awake! Awake! Vesuvius will erupt today! Pompeii will be buried! Run -and save yourselves!" he cried. - -"Go home to bed, stupid boy!" growled the people. - -But Tony would not go. He screamed louder and louder. - -"To jail with him," said someone. "He must have an evil spirit!" - -So poor Tony and his dream were thrown into jail in ancient Pompeii. - -Morning came. Over the top of the volcano hung a dark cloud. The leaden -sky frowned down. Tony kicked at the bars of the jail. He screamed. He -pleaded. He cried. - -"Quiet, foolish child," said one of the prison guards. "If you keep -your peace, you will be free tomorrow." - -"There will be no tomorrow!" wailed poor Tony. "Oh, believe me and let -us all run! Run from Pompeii!" - -"Ha! Ha!" laughed the guard. "You are only a lying little beggar! Nobody -believes lying little beggars!" - -"But I am telling the truth!" insisted poor Tony. "I am! I am! You must -believe me!" - -But it was useless. - -As time went on the black cloud grew larger. Suddenly, a great rumbling -started. An immense wall of fire-red stones came crashing down the -mountain, destroying everything in its path. - -The city was plunged into darkness. People began screaming and running -from their houses. Everything rocked back and forth. - -"Let me out!" cried Tony. "Oh, save me! Madonna mia, never again will -I lie or steal! Oh, never! Save me! Save me!" - -He held Tina tightly. She wriggled and tried to break away. All at -once she began to squeal. He had never heard a dog squeal like that! - -Stones came hurtling against the prison wall. Some entered through the -bars and hit Tony in the face. He closed his eyes. He put up his arm -to ward them off. - -Then the roar of the mountain ceased and the quaking of the earth -stopped. But that strange squealing went right on. A few small pebbles -still came flying. - -He opened his eyes. The sun was shining. The sky was blue overhead. -Grey ruins lay all about him. Old, old ruins! Tony was in the modern -world. He had awakened from his dream! - -But what was that something squirming to break away from him? It was -not Tina. It felt fat and slippery and.... He looked. - -He was holding, by one leg, a frisky, pink pig! Its piteous shrieks -filled the silent, ruined city of Pompeii. - -Where was Tina? - -Just then, a shower of stones from a near-by wall hit him. He turned. -There was Tina, standing upon the wall, digging with her two busy, -front paws. She was scattering ruined Pompeii in Tony's eyes as fast as -she could scatter! - -He freed the pink pig. It hurried off to its neighboring farm, a wiser -but sadder pig. It would never again go sight-seeing! - -"Here, Tina!" he called. - -She stopped her morning's work. She looked at her master. - -"Good-morning," wagged her tail. - -She jumped down into his arms and started to lick his cheek. - -"Oh, Tina, Tina," he sighed, as he hugged her close. "All this time I -have been asleep! I have been dreaming about old Pompeii! It was not -true. It was a dream. Dio mio, how happy I am!" - - - - -CHAPTER XI - -TONY, ANNA, AND TINA - - -Tony sat up and stretched. He felt very weak but the fever had passed. -The day was young. Nobody stirred in the streets of Pompeii. It was too -early for the gates to open. - -Tony arose. "Come," he said to his dog. "Let us go. We can crawl through -the fence. We shall have breakfast. Then, I know what I shall do." - -It was all so simple. It had come to him quite suddenly. He must be a -thief no longer! He must take Tina back to Anna. Tina was Anna's pet. - -He bought some food for the dog. But Tony himself could not eat. His -heart ached. He was going to lose his dear little friend. - -But it was the only thing to do. He saw that now. He shuddered as he -recalled his horrible dream. Why, perhaps if he had been a truthful -boy the ancient people might have believed him! - -If they had believed him, think how many lives could have been saved! - -He suddenly laughed aloud. - -"It was, after all, only a dream," he reminded himself. "But I shall -always remember how terrible it is not to be believed!" - -All morning he walked. Several times he would have liked to stop, for -his head felt curiously light and his legs trembled. But he was going -to bring Tina back to Anna. He could not be happy until he had done -that! - -He approached Anna's house. It looked so new and shiny. The flowers and -trees made a pretty frame for it. How different from the ugly houses -in the poor section of Naples where he lived. - -It would be pleasant to wake up in the morning and smell the fields -and the Bay. Not the horrible odors of narrow streets. Dust and dirt -and cooking things! - -[Illustration: TONY TRIED TO EXPLAIN EVERYTHING] - -He must go bravely to the front door and ring the bell. He must confess -to Anna's father all that he had done. He was ready to take his -punishment like a brave soldier of Italy! - -"Good-day." - -The front door opened. Anna's mother stood there with Anna close -beside her. - -When Anna caught sight of her pet, she cried out, "Niki! Oh, I thought -you were lost! I thought the naughty boy had stolen you! Come to me, -Niki!" - -She held out her arms. But Tony drew Tina away from her. Why did his -throat feel so full and queer? Why did his nose tickle and his eyes -blur with tears? - -No! No! He could not give up his Tina! Anna had everything and he had -only this little dog! It was not fair. - -He planted his poor, wobbly legs as sturdily as he could. His dark eyes -flashed at the little girl. - -"Do not touch her!" he cried. "She bites!" - -Anna shrank back, afraid. - -"She is a bad dog!" continued Tony. "It is not safe for you to keep -her. She has bitten me." - -The mother went forward and gently touched Tony's sleeve. - -"Where has the dog bitten you, my poor boy?" she inquired. - -"Er--on my back!" lied Tony. - -"Turn around and let me see," said the good woman. - -But Tony did not turn around. Instead, he fell upon his knees and -clutched the skirt of Anna's mother. - -"I have lied again! Oh, forgive me!" he sobbed. "What I just said -was not true. Tina does not bite. She is the gentlest little dog -that ever lived. And I am the greatest liar!" - -He was sobbing so that the woman could hardly understand him. He -tried hard to explain everything that had happened to him. But he -felt weak and could barely talk. - -Anna's mother raised him to his feet and led him to a bedroom. Here she -undressed him and prepared a bath. - -At first this frightened Tony. There were no bathrooms in the house -where he had lived! But somehow, he felt that this kind woman would not -hurt him. He allowed her to bathe him and put him to bed. - -He soon found himself tucked between clean, cool sheets. The woman was -offering him something to drink. His eyes were closing. Then he was -asleep. - -When he awoke it was late afternoon. The window shades were drawn and -the room was fairly dark. - -Tony lay gazing up at the smooth, white ceiling. He felt well and strong -now. He thought that he loved the mother of Anna better than anyone he -had ever known. Yes, better even than Tina! - -How could he have lied to Anna again? After promising himself that he -would change. After that terrible dream! Oh, surely that would be his -last lie! Surely! - -As he lay with his thoughts, the door slowly opened. Anna peeped in. -She held Tina in her arms. When she saw Tony's eyes open, she came into -the room. - -"I thought you would like to have Niki," she said. - -She approached his bed. Tony held out his arms for the dog. - -"Her name is not Niki. It is Tina," he said. - -The little girl smiled. - -"It is Niki," she repeated. - -"Tina!" said Tony. - -"Niki!" said Anna. - -She was laughing now. So was Tony. - -"Very well," he said. "Let us call her 'Fido.'" - -"Fido" is taken from an Italian word meaning "faithful." - -So Anna put "Tina-Niki-Fido" into Tony's arms and sat down beside him. - -"Papa says you are to stay here with us," she said. - -[Illustration: TONY, ANNA, AND TINA-NIKI-FIDO] - -Tony shot up in bed. A look of fear came over his face. - -"But your papa will discipline me!" he exclaimed. - -"No! No!" said Anna. "He says that you must not be afraid of him. -Discipline does not hurt. It will make you happy to grow up good." - -Tony's eyes grew wide. So Anna's father, with the deep voice, wanted to -make him happy! - -"Papa has just been to see the Marionette Man," went on Anna. "He told -him all about you, poor little boy!" - -"And will I have to go back to Guido?" asked Tony. - -"No, never," replied Anna. "You are to live with us, and Papa says you -shall join the Balilla." - -Join the Balilla! Live in Anna's pretty house! Never again be parted -from his beloved Tina! Oh, it was almost too good to be true! - -"But your father will punish me," he said, suddenly. He could not seem -to forget the gentleman's severe words. - -"No, no," said Anna. "He says he thinks you have been punished enough. -He thinks you will obey now and never lie again. Will you promise, Tony?" - -Tony hung his head. "I promise," he said. - -"Papa always wanted a little boy of his own," continued Anna. "He will -be so proud to have you march with the boys of Italy. And I ... I would -like a brother." - -"Have you never had a brother?" asked Tony. - -"No," she answered, solemnly. "But I once had a monkey!" - - * * * * * - -So Tony remained with Anna. He joined the Balilla and he never lied or -stole again. - -Well, _almost_ never. At first Anna's father had to talk with him very -seriously to make him understand the beauty of truth. - -When Anna grew a little older, she joined the "Piccole Italiane," the -girls' legion. - -Tina-Niki-Fido did not join anything. At least, I do not think she did. -However, if there is a "Bone-and-Biscuit Dog Scouts" in Italy, you may -be sure she became one. - -She now belonged to both Tony and Anna. Still, it was Tony who cared -for her, fed her, and slept with her. - -You see, between Tony and Tina it had been love at first sight! - - -THE END - - - - -PRONOUNCING VOCABULARY - - - Amalfi ae mael'f[=e] - - Avanti ae vaent'[=e] - - Balilla b[)a]l l[=e]'l[=a] - - Bella signorina b[)e]l'[.a] s[=e]'ny[+o] r[=e]'nae - - Benito Mussolini b[)e]n [=e]'t[=o] m[=oo]s's[+o] l[=e]'n[=e] - - Campanile k[)a]m'p[.a] n[)i]l - - Cimabue ch[=e]'mae b[=oo]'[=a] - - Colosseum k[)o]l'[)o] s[=e]'[)u]m - - Dante d[)a]n't[+e] - - Dio mio d[=e]'[=o] m[=e]'[=o] - - Doge d[=o]j - - Felicissima notte f[=a] l[=e] ch[=e]'s[+e] m[.a] n[=o]'t[)e] - - Fontana Trevi f[)o]n tae'nae tr[)e]'v[=e] - - Genoa j[)e]n'[+o] [.a] - - Giotto jot't[=o] - - Giuseppe Verdi j[=oo] s[)e]p'p[=a] var'd[=e] - - Grazie gr[.a]tz'i [)e] - - Il Duce [=el] d[=oo]'ch[=a] - - Lucullus l[+u] k[)u]l'[)u]s - - Mia m[=e]'[.a] - - Milan m[)i] l[)a]n' - - Niki n[=e]'k[=e] - - Palazzo San Giorgio p[)a]l aetz'[=o] saen j[+o]r'jy[=o] - - Piccole Italiane p[=e]'c[=o] l[)e] [)i] tael [)i] aen'[)e] - - Stromboli str[+o]m'b[+o] l[+e] - - Tina t[=e]'nae - - Torrone tor r[=o]'n[)e] - - Viva Italia v[=e]'vae [+e] tael'yae - - - - -Transcriber's Notes: - - -1. Passages in italics are surrounded by _underscores_. - -2. The list of illustrations with their page numbers have been added -after the table of contents. - -3. Images have been moved from the middle of a paragraph to the closest -paragraph break. - -4. In this etext, a letter with a diacritical mark is enclosed within -square brackets. For example, diacritical marks for letter 'e' are shown -below: - - [)e] represents 'letter e with breve above' - [=e] 'letter e with macron above' - [+e] 'letter e with up tack above' - -Similar representation is used for vowels other than 'e'. The following -two also appear within this etext: - - [.a] represents 'letter a with dot above' - [=oo] 'letters oo with combined macron above' - - - - - -End of Project Gutenberg's Little Tony of Italy, by Madeline Brandeis - -*** END OF THIS PROJECT GUTENBERG EBOOK LITTLE TONY OF ITALY *** - -***** This file should be named 40621.txt or 40621.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/6/2/40621/ - -Produced by Juliet Sutherland, Matthias Grammel and the -Online Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/40621.zip b/40621.zip Binary files differdeleted file mode 100644 index 9560c51..0000000 --- a/40621.zip +++ /dev/null |