The only moments in which Fabrizio had any chance of escaping from his profound melancholy were those which he spent hidden behind a pane, the glass of which he had had replaced by a sheet of oiled paper, in the window of his apartment opposite the palazzo Contarmi, in which, as we know, Clelia had taken refuge;
Kristal baten atzean ezkutatua igarotako uneak zituen Fabricek bere tristura sakonetik irteteko aukera bakanen bat ematen zioten bakarrak, kristala jarrarazi baitzuen paper ezkoztatuaren ordez Contarini jauregiaren aurrez aurreko bere apartamentuko leihoan, jauregi horretan babestu zelako, gauza jakina denez, Clelia.