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Manuscript Addition: To Charles F. Murray/ D. G. Rossetti 1870
Editorial Description: DGR's signature
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- ‘Rivolsimi in quel lato
- Là onde venìa la voce,
- E parvemi una luce
- Che lucea quanto stella:
- La mia mente era quella.’
Bonaggiunta Urbiciani, (1250).
Before any knowledge of painting was brought to
Florence, there were already painters in Lucca, and Pisa,
and
Arezzo, who feared God and loved the art. The
workmen from Greece,
whose trade it was to sell their own
works in Italy and teach
Italians to imitate them, had
already found in rivals of the soil a
skill that could
forestall their lessons and cheapen their labours,
more
years than is supposed before the art came at all into
Florence. The pre-eminence to which Cimabue was raised
at once by
his contemporaries, and which he still retains to
a wide extent even
in the modern mind, is to be accounted
for, partly by the
circumstances under which he arose, and
partly by that
extraordinary
purpose of fortune born with the
lives of some few, and through which it is not a little thing
for
any who went before, if they are even remembered as
the shadows of
the coming of such an one, and the voices
which prepared his way in
the wilderness. It is thus, almost
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exclusively, that
the painters of whom I speak are now
known. They have left little,
and but little heed is taken of
that which men hold to have been
surpassed; it is gone like
time gone,—a track of dust and
dead leaves that merely led
to the fountain.
Nevertheless, of very late years and in very rare in-
stances, some
signs of a better understanding have become
manifest. A case in
point is that of the triptych and two
cruciform pictures at Dresden,
by Chiaro di Messer Bello
dell' Erma, to which the eloquent pamphlet
of Dr. Aemmster
has at length succeeded in attracting the students.
There
is another still more solemn and beautiful work, now proved
to
be by the same hand, in the Pitti gallery at Florence.
It is the one
to which my narrative will relate.
This Chiaro dell' Erma was a young man of very
honorable family in
Arezzo; where, conceiving art almost
for himself, and loving it
deeply, he endeavoured from
early boyhood towards the imitation of
any objects offered
in nature. The extreme longing after a visible
embodiment
of his thoughts strengthened as his years increased, more
even than his sinews or the blood of his life; until he would
feel
faint in sunsets and at the sight of stately persons.
When he had
lived nineteen years, he heard of the famous
Giunta Pisano; and,
feeling much of admiration, with per-
haps a little of that envy which
youth always feels until it
has learned to measure success by time
and opportunity, he
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determined that he
would seek out Giunta, and, if possible,
become his pupil.
Having arrived in Pisa, he clothed himself in humble
apparel, being
unwilling that any other thing than the desire
he had for knowledge
should be his plea with the great
painter; and then, leaving his
baggage at a house of enter-
tainment, he took his way along the
street, asking whom he
met for the lodging of Giunta. It soon
chanced that one of
that city, conceiving him to be a stranger and
poor, took
him into his house and refreshed him; afterwards
directing
him on his way.
When he was brought to speech of Giunta, he said
merely that he was a
student, and that nothing in the world
was so much at his heart as
to become that which he had
heard told of him with whom he was
speaking. He was
received with courtesy and consideration, and soon
stood
among the works of the famous artist. But the forms he saw
there were lifeless and incomplete; and a sudden exultation
possessed him as he said within himself, ‘I am the master
of this man.’ The blood came at first into his face, but
the
next moment he was quite pale and fell to trembling. He
was
able, however to conceal his emotion, speaking very
little to
Giunta, but when he took his leave, thanking him
respectfully.
After this, Chiaro's first resolve was that he would work
out
thoroughly some of his thoughts, and let the world
know him. But the
lesson which he had now learned, of
how small a greatness might win
fame, and how little there
was to strive against, served to make him
torpid, and ren-
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dered his
exertions less continual. Also Pisa was a larger
and more luxurious
city than Arezzo; and when, in his
walks, he saw the great gardens
laid out for pleasure, and
the beautiful women who passed to and
fro, and heard the
music that was in the groves of the city at
evening, he was
taken with wonder that he had never claimed his
share of
the inheritance of those years in which his youth was cast.
And women loved Chiaro; for, in despite of the burthen of
study, he
was well-favoured and very manly in his walking;
and, seeing his
face in front, there was a glory upon it, as
upon the face of one
who feels a light round his hair.
So he put thought from him, and partook of his life.
But, one night,
being in a certain company of ladies, a
gentleman that was there
with him began to speak of the
paintings of a youth named
Bonaventura, which he had seen
in Lucca; adding that Giunta Pisano
might now look for a
rival. When Chiaro heard this, the lamps shook
before
him, and the music beat in his ears. He rose up, alleging
a
sudden sickness, and went out of that house with his teeth
set. And,
being again within his room, he wrote up over
the door the name of
Bonaventura, that it might stop him
when he would go out.
He now took to work diligently, not returning to Arezzo,
but
remaining in Pisa, that no day more might be lost; only
living
entirely to himself. Sometimes, after nightfall, he
would walk
abroad in the most solitary places he could find;
hardly feeling the
ground under him, because of the thoughts
of the day which held him
in fever.
The lodging Chiaro had chosen was in a house that
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looked upon
gardens fast by the Church of San Petronio. It
was here, and at this
time, that he painted the Dresden
pictures; as also, in all
likelihood, the one—inferior in
merit, but certainly
his—which is now at Munich. For the
most part he was calm
and regular in his manner of study;
though often he would remain at
work through the whole of
a day, not resting once so long as the
light lasted; flushed,
and with the hair from his face. Or, at
times, when he
could not paint, he would sit for hours in thought of
all the
greatness the world had known from of old; until he was
weak
with yearning, like one who gazes upon a path of
stars.
He continued in this patient endeavour for about three
years, at the
end of which his name was spoken throughout
all Tuscany. As his fame
waxed, he began to be employed,
besides easel-pictures, upon
wall-paintings; but I believe
that no traces remain to us of any of
these latter. He
is said to have painted in the Duomo; and
D'Agincourt
mentions having seen some portions of a picture by him
which originally had its place above the high altar in the
Church of
the Certosa; but which, at the time he saw it,
being very
dilapidated, had been hewn out of the wall, and
was preserved in the
stores of the convent. Before the
period of Dr. Aemmster's
researches, however, it had been
entirely destroyed.
Chiaro was now famous. It was for the race of fame
that he had girded
up his loins; and he had not paused
until fame was reached; yet now,
in taking breath, he found
that the weight was still at his heart.
The years of his
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labour had fallen
from him, and his life was still in its first
painful desire.
With all that Chiaro had done during these three years,
and even
before with the studies of his early youth, there
had always been a
feeling of worship and service. It was
the peace-offering that he
made to God and to his own soul
for the eager selfishness of his
aim. There was earth, indeed,
upon the hem of his raiment; but
this was of the heaven,
heavenly. He had seasons when
he could endure to think
of no other feature of his hope than this.
Sometimes it had
even seemed to him to behold that day when his
mistress
—his mystical lady (now hardly in her ninth year,
but whose
smile at meeting had already lighted on his
soul,)—even
she, his own gracious Italian Art—
should pass, through the
sun that never sets, into the shadow of the
tree of life,
and be seen of God and found good: and then it had
seemed to him that he, with many who, since his coming,
had joined
the band of whom he was one (for, in his dream,
the body he had worn
on earth had been dead an hundred
years), were permitted to gather
round the blessed maiden,
and to worship with her through all ages
and ages of ages,
saying, Holy, holy, holy. This thing he had seen
with the
eyes of his spirit; and in this thing had trusted,
believing
that it would surely come to pass.
But now, (being at length led to inquire closely into
himself,) even
as, in the pursuit of fame, the unrest abiding
after attainment had
proved to him that he had misinterpreted
the craving of his own
spirit—so also, now that he would
willingly have fallen
back on devotion, he became aware
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that much of that
reverence which he had mistaken for faith
had been no more than the
worship of beauty. Therefore,
after certain days passed in
perplexity, Chiaro said within
himself, ‘My life and my
will are yet before me: I will
take another aim to my life.’
From that moment Chiaro set a watch on his soul, and
put his hand to
no other works but only to such as had for
their end the presentment
of some moral greatness that
should influence the beholder: and to
this end, he multiplied
abstractions, and forgot the beauty and
passion of the world.
So the people ceased to throng about his
pictures as hereto-
fore; and, when they were carried through town and
town
to their destination, they were no longer delayed by the
crowds
eager to gaze and admire; and no prayers or offer-
ings were brought
to them on their path, as to his Madonnas,
and his Saints, and his
Holy Children, wrought for the sake
of the life he saw in the faces
that he loved. Only the critical
audience remained to him; and
these, in default of more
worthy matter, would have turned their
scrutiny on a puppet
or a mantle. Meanwhile, he had no more of fever
upon
him; but was calm and pale each day in all that he did
and in
his goings in and out. The works he produced
at this time have
perished—in all likelihood, not unjustly.
It is said (and
we may easily believe it), that, though
more laboured than his
former pictures, they were cold
and unemphatic; bearing marked out
upon them the
measure of that boundary to which they were made to
conform.
And the weight was still close at Chiaro's heart: but he
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held in his
breath, never resting (for he was afraid), and
would not know it.
Now it happened, within these days, that there fell a
great feast in
Pisa, for holy matters: and each man left his
occupation; and all
the guilds and companies of the city
were got together for games and
rejoicings. And there were
scarcely any that stayed in the houses,
except ladies who
lay or sat along their balconies between open
windows which
let the breeze beat through the rooms and over the
spread
tables from end to end. And the golden cloths that their
arms
lay upon drew all eyes upward to see their beauty;
and the day was
long; and every hour of the day was bright
with the sun.
So Chiaro's model, when he awoke that morning on the
hot pavement of
the Piazza Nunziata, and saw the hurry of
people that passed him,
got up and went along with them;
and Chiaro waited for him in vain.
For the whole of that morning, the music was in Chiaro's
room from
the Church close at hand; and he could hear
the sounds that the
crowd made in the streets; hushed only
at long intervals while the
processions for the feast-day
chanted in going under his windows.
Also, more than once,
there was a high clamour from the meeting of
factious
persons: for the ladies of both leagues were looking down;
and he who encountered his enemy could not choose but
draw upon him.
Chiaro waited a long time idle; and then
knew that his model was
gone elsewhere. When at his
work, he was blind and deaf to all else;
but he feared
sloth: for then his stealthy thoughts would begin to beat
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round and round
him, seeking a point for attack. He now
rose, therefore, and went to
the window. It was within a
short space of noon; and underneath him
a throng of people
was coming out through the porch of San Petronio.
The two greatest houses of the feud in Pisa had filled
the church for
that mass. The first to leave had been the
Gherghiotti; who,
stopping on the threshold, had fallen
back in ranks along each side
of the archway: so that now,
in passing outward, the Marotoli had to
walk between two
files of men whom they hated, and whose fathers had
hated
theirs. All the chiefs were there and their whole adherence;
and each knew the name of each. Every man of the Maro-
toli, as he
came forth and saw his foes, laid back his hood
and gazed about him,
to show the badge upon the close cap
that held his hair. And of the
Gherghiotti there were some
who tightened their girdles; and some
shrilled and threw
up their wrists scornfully, as who flies a
falcon; for that was
the crest of their house.
On the walls within the entry were a number of tall
narrow pictures,
presenting a moral allegory of Peace, which
Chiaro had painted that
year for the Church. The Gher-
ghiotti stood with their backs to these
frescoes; and among
them Golzo Ninuccio, the youngest noble of the
faction,
called by the people Golaghiotta, for his debased life.
This
youth had remained for some while talking listlessly to his
fellows, though with his sleepy sunken eyes fixed on them
who
passed: but now, seeing that no man jostled another,
he drew the
long silver shoe off his foot and struck the dust
out of it on the
cloak of him who was going by, asking him
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how far the
tides rose at Viderza. And he said so because
it was three months
since, at that place, the Gherghiotti had
beaten the Marotoli to the
sands, and held them there while
the sea came in; whereby many had
been drowned. And,
when he had spoken, at once the whole archway was
daz-
zling with the light of confused swords; and they who had
left
turned back; and they who were still behind made
haste to come
forth: and there was so much blood cast up
the walls on a sudden,
that it ran in long streams down
Chiaro's paintings.
Chiaro turned himself from the window; for the light
felt dry between
his lids, and he could not look. He sat
down, and heard the noise of
contention driven out of the
church-porch and a great way through
the streets; and soon
there was a deep murmur that heaved and waxed
from the
other side of the city, where those of both parties were
gathering to join in the tumult.
Chiaro sat with his face in his open hands. Once again
he had wished
to set his foot on a place that looked green
and fertile; and once
again it seemed to him that the thin
rank mask was about to spread
away, and that this time the
chill of the water must leave leprosy
in his flesh. The light
still swam in his head, and bewildered him
at first; but
when he knew his thoughts, they were these:—
‘Fame failed me: faith failed me: and now this
also,—
the hope that I nourished in this my generation of
men,—
shall pass from me, and leave my feet and my hands
groping. Yet because of this are my feet become slow and
my hands
thin. I am as one who, through the whole night,
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holding his way
diligently, hath smitten the steel unto the
flint, to lead some whom
he knew darkling; who hath kept
his eyes always on the sparks that
himself made, lest they
should fail; and who, towards dawn, turning
to bid them
that he had guided God speed, sees the wet grass
untrodden
except of his own feet. I am as the last hour of the day,
whose chimes are a perfect number; whom the next fol-
loweth not, nor
light ensueth from him; but in the same
darkness is the old order
begun afresh. Men say, “This is
not God nor man; he is
not as we are, neither above us:
let him sit beneath us, for we are
many.” Where I write
Peace, in that spot is the drawing
of swords, and there men's
footprints are red. When I would sow,
another harvest is
ripe. Nay, it is much worse with me than thus
much. Am
I not as a cloth drawn before the light, that the looker
may
not be blinded; but which sheweth thereby the grain of its
own
coarseness; so that the light seems defiled, and men
say,
“We will not walk by it.” Wherefore through me
they
shall be doubly accursed, seeing that through me they reject
the light. May one be a devil and not know it?’
As Chiaro was in these thoughts, the fever encroached
slowly on his
veins, till he could sit no longer and would
have risen; but
suddenly he found awe within him, and
held his head bowed, without
stirring. The warmth of the
air was not shaken; but there seemed a
pulse in the light,
and a living freshness, like rain. The silence
was a painful
music, that made the blood ache in his temples; and he
lifted his face and his deep eyes.
A woman was present in his room, clad to the hands
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and feet with a
green and grey raiment, fashioned to that
time. It seemed that the
first thoughts he had ever known
were given him as at first from her
eyes, and he knew her
hair to be the golden veil through which he
beheld his
dreams. Though her hands were joined, her face was not
lifted, but set forward; and though the gaze was austere, yet
her
mouth was supreme in gentleness. And as he looked,
Chiaro's spirit
appeared abashed of its own intimate
presence, and his lips shook
with the thrill of tears; it
seemed such a bitter while till the
spirit might be indeed
alone.
She did not move closer towards him, but he felt her to
be as much
with him as his breath. He was like one who,
scaling a great
steepness, hears his own voice echoed in
some place much higher than
he can see, and the name of
which is not known to him. As the woman
stood, her
speech was with Chiaro: not, as it were, from her mouth
or
in his ears; but distinctly between them.
‘I am an image, Chiaro, of thine own soul within thee.
See
me, and know me as I am. Thou sayest that fame has
failed thee, and
faith failed thee; but because at least thou
hast not laid thy life
unto riches, therefore, though thus late,
I am suffered to come into
thy knowledge. Fame sufficed
not, for that thou didst seek fame:
seek thine own con-
science (not thy mind's conscience, but thine
heart's), and
all shall approve and suffice. For Fame, in noble
soils, is a
fruit of the Spring: but not therefore should it be
said:
“Lo! my garden that I planted is barren: the crocus
is
here, but the lily is dead in the dry ground, and shall not
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lift the earth
that covers it: therefore I will fling my garden
together, and give
it unto the builders.” Take heed rather
that thou trouble
not the wise secret earth; for in the mould
that thou throwest up
shall the first tender growth lie to
waste; which else had been made
strong in its season.
Yea, and even if the year fall past in all its
months, and the
soil be indeed, to thee, peevish and incapable, and
though
thou indeed gather all thy harvest, and it suffice for
others,
and thou remain vexed with emptiness; and others drink of
thy streams, and the drouth rasp thy throat;—let it be
enough that these have found the feast good, and thanked
the giver:
remembering that, when the winter is striven
through, there is
another year, whose wind is meek, and
whose sun fulfilleth all.’
While he heard, Chiaro went slowly on his knees. It
was not to her
that spoke, for the speech seemed within
him and his own. The air
brooded in sunshine, and though
the turmoil was great outside, the
air within was at peace.
But when he looked in her eyes, he wept.
And she came
to him, and cast her hair over him, and took her hands
about his forehead, and spoke again:—
‘Thou hast said,’ she continued, gently,
‘that faith failed
thee. This cannot be. Either thou
hadst it not, or thou
hast it. But who bade thee strike the point
betwixt love
and faith? Wouldst thou sift the warm breeze from the
sun that quickens it? Who bade thee turn upon God and
say:
“Behold, my offering is of earth, and not worthy: thy
fire comes not upon it; therefore, though I slay not my
brother whom
thou acceptest, I will depart before thou
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smite
me.” Why shouldst thou rise up and tell God He is
not
content? Had He, of his warrant, certified so to thee?
Be not nice
to seek out division; but possess thy love in
sufficiency: assuredly
this is faith, for the heart must believe
first. What He hath set in
thine heart to do, that do thou;
and even though thou do it without
thought of Him, it shall
be well done; it is this sacrifice that He
asketh of thee, and
his flame is upon it for a sign. Think not of
Him; but
of his love and thy love. For God is no morbid exactor:
He
hath no hand to bow beneath, nor a foot, that thou
shouldst kiss it.’
And Chiaro held silence, and wept into her hair which
covered his
face; and the salt tears that he shed ran through
her hair upon his
lips; and he tasted the bitterness of
shame.
Then the fair woman, that was his soul, spoke again to
him, saying:—
‘And for this thy last purpose, and for those unprofit-
able
truths of thy teaching,—thine heart hath already put
them
away, and it needs not that I lay my bidding upon
thee. How is it
that thou, a man, wouldst say coldly to the
mind what God hath said
to the heart warmly? Thy will
was honest and wholesome; but look
well lest this also be
folly,—to say, “I, in
doing this, do strengthen God among
men.” When at any
time hath He cried unto thee, saying,
“My son, lend Me
thy shoulder, for I fall?” Deemest thou
that the men who
enter God's temple in malice, to the
provoking of blood, and neither
for his love nor for his
wrath will abate their purpose,—
shall afterwards stand with
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thee in the
porch, midway between Him and themselves, to
give ear unto thy thin
voice, which merely the fall of their
visors can drown, and to see
thy hands, stretched feebly,
tremble among their swords? Give thou
to God no more
than He asketh of thee; but to man also, that which
is man's.
In all that thou doest, work from thine own heart, simply;
for
his heart is as thine, when thine is wise and humble; and
he
shall have understanding of thee. One drop of rain is
as another,
and the sun's prism in all: and shalt thou not
be as he, whose lives
are the breath of One? Only by
making thyself his equal can he learn
to hold communion
with thee, and at last own thee above him. Not
till thou
lean over the water shalt thou see thine image therein:
stand erect, and it shall slope from thy feet and be lost.
Know that
there is but this means whereby thou mayest
serve God with
man:—Set thine hand and thy soul to
erve man with God. ’
And when she that spoke had said these words within
Chiaro's spirit,
she left his side quietly, and stood up as he
had first seen her:
with her fingers laid together, and her
eyes steadfast, and with the
breadth of her long dress
covering her feet on the floor. And,
speaking again, she
said:—
‘Chiaro, servant of God, take now thine Art unto thee,
and
paint me thus, as I am, to know me: weak, as I am,
and in the weeds
of this time; only with eyes which seek
out labour, and with a
faith, not learned, yet jealous of
prayer. Do this; so shall thy
soul stand before thee always,
and perplex thee no more.’
page: 18
And Chiaro did as she bade him. While he worked,
his face grew solemn
with knowledge: and before the
shadows had turned, his work was
done. Having finished,
he lay back where he sat, and was asleep
immediately: for
the growth of that strong sunset was heavy about
him, and
he felt weak and haggard; like one just come out of a dusk,
hollow country, bewildered with echoes, where he had lost
himself,
and who has not slept for many days and nights.
And when she saw him
lie back, the beautiful woman came
to him, and sat at his head,
gazing, and quieted his sleep
with her voice.
The tumult of the factions had endured all that day
through all Pisa,
though Chiaro had not heard it: and the
last service of that feast
was a mass sung at midnight from
the windows of all the churches for
the many dead who lay
about the city, and who had to be buried
before morning,
because of the extreme heat.
In the spring of 1847, I was at Florence. Such as were
there at the
same time with myself—those, at least, to
whom Art is
something,— will certainly recollect how many
rooms of
the Pitti Gallery were closed through that season,
in order that
some of the pictures they contained might be
examined and repaired
without the necessity of removal.
The hall, the staircases, and the
vast central suite of apart-
ments, were the only accessible portions;
and in these such
paintings as they could admit from the sealed
penetralia
page: 19
were profanely
huddled together, without respect of dates,
schools, or persons.
I fear that, through this interdict, I may have missed
seeing many of
the best pictures. I do not mean
only the
most
talked of: for these, as they were restored, generally
found their
way somehow into the open rooms, owing to the
clamours raised by the
students; and I remember how old
Ercoli's, the curator's, spectacles
used to be mirrored in
the reclaimed surface, as he leaned
mysteriously over these
works with some of the visitors, to
scrutinize and elucidate.
One picture that I saw that spring, I shall not easily
forget. It was
among those, I believe, brought from the
other rooms, and had been
hung, obviously out of all
chronology, immediately beneath that head
by Raphael so
long known as the ‘Berrettino,’
and now said to be the
portrait of Cecco Ciulli.
The picture I speak of is a small one, and represents
merely the
figure of a woman, clad to the hands and feet
with a green and grey
raiment, chaste and early in its
fashion, but exceedingly simple.
She is standing: her
hands are held together lightly, and her eyes
set earnestly
open.
The face and hands in this picture, though wrought
with great
delicacy, had the appearance of being painted
at once, in a single
sitting: the drapery is unfinished. As
soon as I saw the figure, it
drew an awe upon me, like
water in shadow. I shall not attempt to
describe it more
than I have already done; for the most absorbing
wonder
of it was its literality. You knew that figure, when painted,
page: 20
had been seen; yet it was not a thing to be seen of men.
This language will appear ridiculous to such as have never
looked on
the work; and it may be even to some among
those who have. On
examining it closely, I perceived in
one corner of the canvass the
words
Manus Animam pinxit,
and the date 1239.
I turned to my Catalogue, but that was useless, for the
pictures were
all displaced. I then stepped up to the
Cavaliere Ercoli, who was in
the room at the moment,
and asked him regarding the subject and
authorship of the
painting. He treated the matter, I thought,
somewhat
slightingly, and said that he could show me the reference
in the Catalogue, which he had compiled. This,
when
found, was not of much value, as it merely said, ‘Schizzo
d'autore
incerto,’ adding the inscription.*
I could willingly
have prolonged my inquiry, in the hope that it
might some-
how lead to some result; but I had disturbed the curator
from certain yards of Guido, and he was not communicative.
I went
back, therefore, and stood before the picture till it
grew dusk.
The next day I was there again; but this time a circle
of students
was round the spot, all copying the
‘Berrettino.’
I contrived, however, to find a
place whence I could see
my
Transcribed Footnote (page 20):
*I should here say, that in the latest catalogues, (owing,
as in
cases before mentioned, to the zeal and enthusiasm of
Dr. Aemmster),
this, and several other pictures, have been
more competently entered.
The work in question is now placed
in the
Sala Sessagona, a room
I did not see—under the number
161. It is described as ‘Figura
mistica di Chiaro dell' Erma,’
and there is a brief notice of the
author appended.
page: 21
picture, and
where I seemed to be in nobody's way. For
some minutes I remained
undisturbed; and then I heard,
in an English voice:
‘Might I beg of you, sir, to stand a
little more to this
side, as you interrupt my view.’
I felt vexed, for, standing where he asked me, a glare
struck on the
picture from the windows, and I could not see
it. However, the
request was reasonably made, and from a
countryman; so I complied,
and turning away, stood by
his easel. I knew it was not worth while;
yet I referred in
some way to the work underneath the one he was
copying.
He did not laugh, but he smiled as we do in England:
‘
Very odd, is it not?’
said he.
The other students near us were all continental; and
seeing an
Englishman select an Englishman to speak with,
conceived, I suppose,
that he could understand no language
but his own. They had evidently
been noticing the interest
which the little picture appeared to
excite in me.
One of them, an Italian, said something to another who
stood next to
him. He spoke with a Genoese accent, and
I lost the sense in the
villanous dialect. ‘Che
so?’ re-
plied the other, lifting his eyebrows
towards the figure;
‘roba
mistica: 'st' Inglesi son matti sul misticismo: somiglia
alle
nebbie di là . Li fa pensare alla patria,
- “e intenerisce il core
- Lo di ch' han detto ai dolci amici adio.”’
‘La notte, vuoi
dire,’ said a third.
There was a general laugh. My compatriot was evi-
dently a novice in
the language, and did not take in what
was said. I remained silent,
being amused.
page: 22
‘Et toi
donc?’ said he who had quoted Dante, turning
to
a student, whose birthplace was unmistakable, even had
he been
addressed in any other language: ‘que dis-tu de ce
genre-là?’
‘Moi?’
returned the Frenchman, standing back from his
easel, and looking at
me and at the figure, quite politely,
though with an evident
reservation: ‘Je dis, mon cher,
que
c'est une spécialité dont je me fiche
pas mal. Je tiens que
quand on ne comprend pas une chose, c'est
qu'elle ne
signifie rien.’
My reader thinks possibly that the French student was
right.
DANTE GABRIEL ROSSETTI, 1850
London: Strangeways and Walden, Printers, 28 Castle St., Leicester Sq.