Summary

Henry Wilton Thomas The Last Lady of Mulberry: A Story of Italian New York (1900)

Bertino had looked on silently during the metamorphosis of the bust, and when the long column of candle-bearers moved he kept abreast of the head. At length they wheeled into Mulberry Street and passed by Casa Di Bello. He had expected to see his uncle’s home in darkness and crape on the door. But the windows showed light, and, standing on the stoop to see the procession, like all the populace of Mulberry, were Aunt Carolina and—he pushed the hat from his brow at the risk of liberty and life, to make sure that his eyes did not beguile him—yes, Marianna and Armando! All in America!
Source: Gutenberg

Henry Wilton Thomas The Last Lady of Mulberry: A Story of Italian New York (1900)

Juno the sculptor had granted no touch of poetry, and it stood forth in all the cruel realism of coldest marble. While the terrified children clung to their mother’s skirts, Signor Tomato thrashed about the shop, beating his temples with loosely closed fists and crying, “Woe is me, woe is me!” He would not be comforted, nor could Bridget quiet him to the degree of telling her the cause of his mad goings-on until she caught him by the arm and commanded that he be a man and tell her his trouble.
Source: Gutenberg

Henry Wilton Thomas The Last Lady of Mulberry: A Story of Italian New York (1900)

O poor Signorina Carolina! To come back just too late to keep out the Napolitana—the baggage above all others against whom she wished to close the door. She knew it, she knew it! In her dreams she had seen Juno the Superb queening it over her in the kitchen, ordering more garlic in this, more red pepper in that, and making everything fit only for Neapolitan pigs to eat. Maria have mercy, but she must obey.
Source: Gutenberg

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