For all the rest of October Madame was very busy in planning a non-realistic Ikebana, an extremely delicate balance of autumn shades. The base was an antique gold-colored Belle Epoque vase, a 1906 glass, with a long, slender neck.
Madame left the responsibility of naming the composition up to me. All the fanciful compositions were titled, because one of the purposes of Ikebana was just to solicit names, to make concrete in words the sensation that the composition had excited in our souls. What struck me the most in that composition was “its heart of light,” I said, and Madame affirmed that she couldn’t have found a better name herself. To tell the truth, I began to possess a certain competence in this area. I had literally devoured Ikebana: I’art des fleurs, Les fleurs et Vantique tradition japonaise, Ikebana et Hai-Kai, and finally La peinture japonaise, a magnificent volume on glossy paper, all reproductions. At night, on the advice of Madame, I read Kawabata, who was “so Zen from the first to the last page.” It bored me to death, with all those idiotic women gazing sadly at winter landscapes, but I refrained from saying so in order not to appear materialistic. Madame detested materialism, and Kawabata was “un petit souffle who caressed the plains of the soul.”
With my October salary, which Madame insisted on paying in full even though I had not begun work at the beginning of the month, I bought myself a jacket of dark green buckskin, which I felt much in need of, and accessories in very red tortoise: powder box, comb, and cigar lighter combined. With advanced money I purchased a most elegant writing case, which seemed to me to be indispensable for a secretary of a certain level, and which contained a tiny silver papercutter, a lacquered fountain pen, a bottle of very blue ink, and a little packet of writing paper in splendid light yellow-colored rice paper with matching envelopes. I found that my room acquired a more intellectual aspect. I made some small changes in the arrangement of the objects. I moved the lamp made from the jade vase from the chest of drawers to the table near the window, I arranged next to it the objects I had bought, and I got a real desk. To finish it off, I arranged in broad view the Poésie complète by Vittoria Aganoor Pompilj and La vie des abeilles by Maeterlinck, which I had bought at a stall.
At the beginning of November Madame entrusted to me two tasks which perfectly justified my acquisition of stationery. A catalogue had arrived from a gallery in Zurich in which two prints by Utamaro were mentioned without any specifications. I had to ask for information, dimensions, prices, possibly photographs. And then I had to go to a shop in Sanremo so that it would send us by its usual method the bulbs for transplanting indicated by such-and-such abbreviations in its catalogue.
To the gallery in Zurich I wrote a stiff, polite letter, in elegant handwriting, on my rice paper. I begged them to be very detailed in their answer, to indicate the price in Swiss francs, to send at least two colored photographs measuring 16 by 24. Finally I let drop the possibility of an immediate purchase depending upon the quality of the works, and I carefully signed myself Lisabetta Rossi-Fini, secretary to Madame Huppert. I thought that for my signature I could quite rightly begin to use Mama’s last name and Papa’s, joined by a hyphen. After all, I was the daughter of them both; I did not use names that did not belong to me.
At the shop in Sanremo, in addition to the bulbs, I ordered a dozen blue carnations which I’d seen in the catalogue and which had fascinated me. The carnation is a simple, popular flower which signifies frankness and sympathy. But that greenhouse variety of intense blue that faded into violet on its curly edges was truly unusual. They seemed exotic, mysterious flowers, something like orchids without possessing their cold vulgarity.
In those days Madame was valiantly occupied in the realization of a Gashu, a traditional moribana, for which is necessary, more than the gifts of sensitivity and creativity, exact knowledge of the ancient Japanese painting which inspired the moribana. The moribana is a type of Ikebana created in a large, flat vase, usually rectangular or round. My collaboration on the moribana, to tell the truth, was limited to the search for the primary materials, given that I had to take a rather boring walk in the hills around the lake to search for walnut trees and juniper shoots. It had rained recently and the ground was not exactly ideal for sylvan strolls. Perhaps because of the pollen and the decaying leaves, I developed an annoying irritation of the ankles which caused me to scratch for a week.
The gallery in Zurich answered by return mail. It sent the photographs of the Utamaros, regretting that the colors were not very true and that the shape was not what I had requested, but they were all that it had in its file. They showed two small water colors: one rather obvious female figure and one insect on a water lily pad, all in tones of green and brown, over which Madame enthused. The information from the gallery, in addition to the dimensions and prices, was as follows: “Utamaro, 1754–1806. Num. 148/a: Femme de Yedo, 1802 environ, gouache sur papier de Chine, etat de conservation parfait. Num. 148/b: Libellule sur nenuphar, 1790 environ, gouache sur papier de Chine, quelque legere tache d’humidite sur le dos.”
It was pure chance that evening that, before going to bed, I glanced at the chapter in Peinture japonaise dedicated to the work and school of Utamaro. The first discrepancy with the Swiss catalogue to arouse my attention was the date of death, 1797, which I confirmed in Madame’s Larousse. I found it most peculiar that such a reliable gallery could make such a foolish mistake, and I set out to search further. Decidedly the gallery was not in luck. My book devoted ample space to a follower of Utamaro, a certain Torii Kiyomine (nineteenth century), rich in talent and in mellow drawing, but without the melancholy grace of the master, who had dedicated his painting to the life of the courtesans. I understood immediately that the Swiss had made an even graver blunder, and it did not seem opportune to drop the matter.
That same evening at my desk I composed a masterpiece of a letter which the next day underwent Madame’s approval. Stating beforehand that the person for whom it was my duty to write was an international expert on Japanese painting and that the humble signer of the letter did everything possible to assist her in her research, I politely begged to observe the following: 1)I found it truly odd that Utamaro’s date of death, accepted by common consent, of the most authoritative contemporary scholars as 1797, had been arbitrarily shifted a good nine years. 2) Such an inaccuracy, which was evidently not a typographical misprint, provoked an even more lamentable error: the Maestro would have to have painted a work even though he was already deceased. 3) The female figure of No. 148/a in the catalogue, indicated as Femme de Yedo by Utamaro, was in reality a courtesan by Torii Kiyomine, as was attested (even for those unable to read the ideograms to the left of the figure) not only by the volute hem of the dress and the obviously nineteenth-century position of the figure, but the unequivocal high, black, wooden-soled sandals which emerged from beneath the kimono. I let it be understood rather wickedly that the clients of the gallery would certainly be alarmed about the guarantee of the works in their possession if they were by chance to become acquainted with such a deplorable blunder. I permitted myself to suggest, therefore, a prompt errata corrigé in the catalogue, which would reassure “all of us.” And finally I proposed the purchase, in addition to the authentic Utamaro, for which I was prepared to pay the fair price, of the courtesan by Kiyomine also, for half the requested price. I signed myself, with cordial regards, Lisabetta Rossi-Fini, secretary to Madame Huppert.