page: 23
- “Rivolsimi in quel
lato
- Là 'nde venia 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
keen, grave 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
with
a
skill that could forestall their lessons and cheapen
their crucifixes
and
addolorate, 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 extra-
ordinary
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 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 instances,
some
signs of a better understanding have become manifest. A
case in
point is that of the tryptic
h and two cruciform pictures
at Dresden,
by Chiaro di Messer Bello dell' Erma, to which the
eloquent pam-
phlet of Dr. Aemmster has at length succeeded in
attracting the stu-
dents. There is another, still more solemn
and beautiful work, now
proved to be by the same hand, in the
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, as it
were, for him-
self, and loving it deeply, he endeavored 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
page: 24
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,
perhaps, a little of
that envy which youth always feels until it
has learned to measure
success by time and opportunity, he
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 entertainment, 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
con-
sideration, and shewn into the study 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 one 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 rendered 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
page: 25
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 and made
him giddy. 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
Giunta 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 en-
tirely 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
he
Chiaro had chosen was in a house that looked
upon
gardens fast by the Church of San Rocco.
During the
offices, as he
sat at work, he could hear the music of the organ
and the long
murmur that the chanting left; and if his window
were open,
sometimes, at those parts of the mass where there is
silence through-
out the church, his ear caught faintly the
single voice of the
priest. Beside the matters of his art and a
very few books, almost
the only object to be noticed in Chiaro's
room was a small conse-
crated image of St. Mary Virgin wrought
out of silver, before which
stood always, in summer-time, a
glass containing a lily and a rose.
It was here, and at this time, that
Chiaro
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 the 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 paintings in fresco: 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 fresco 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
page: 26
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 labor 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: and some-
times, in the ecstasy of prayer, it had
even seemed to him to behold
that day when his mistress—his
mystical lady (now hardly in her
ninth year, but whose solemn
smile at meeting had already lighted
on his soul like the dove
of the Trinity)—even she, his own
gracious and holy Italian
art—with her virginal bosom, and her un-
fathomable eyes, and
the thread of sunlight round her brows—should
pass, through
the sun that never sets, into the circle of 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 enquire 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 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 impress
the be-
holder:
and, in doing this, he did not choose for his
medium the
action and passion of human life, but cold symbolism
and abstract
impersonation
and to this end, he
multiplied abstractions, and forgot the beauty and passion of
life> the
world.
. So the people ceased to throng about
his pictures
as heretofore; and, when they were carried through
town and town
to their destination, they were no longer delayed
by the crowds
page: 27
Printer's Direction: Banfield
Editorial Description: Compositor's name
eager to gaze and admire: and no prayers or offerings were
brought
to them on their path, as to his Madonnas, and his
Saints, and his
Holy Children
, wrought
by him 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 labored than his former
pictures, they
were cold and unemphatic; bearing marked out upon
them, as they
must certainly have done, the measure of that boun-
dary to
which they were made to conform.
And the weight was still close at Chiaro's heart: but
he 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 pave-
ment 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, as it
were, to beat 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
Rocco.
page: 28
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 Marotoli, 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 fres-
coes, presenting a moral allegory of Peace, which
Chiaro had painted
that year for the Church. The Gherghiotti
stood with their backs
to these frescoes: and among them Golzo
Ninuccio, the youngest
noble of the faction, called by the
people of Golaghiotta, for his de-
based life. This youth had
remained for some while talking list-
lessly 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 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 dazzling 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 bewil-
page: 29
dered 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, 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
followeth 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 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
page: 30
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 know-
ledge. Fame sufficed not, for
that thou didst seek fame: seek thine
own conscience (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 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 vext with empti-
ness; and
others drink of they 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 hadst said,” she continued, gently, “that faith
failed thee.
This cannot be so. 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
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: as-
suredly 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
page: 31
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
unprofitable 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 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 shal
have understanding of thee. One drop of rain is as
another, and
the sun's prism in all: and shalt not thou 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
may'st
serve God with man:—Set thine hand and thy soul to
serve 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: 32
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 heats.
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 some-
thing,—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 neces-
sity of removal. The hall, the
staircases, and the vast central suite
of apartments, were the
only accessible portions; and in these such
paintings as they
could admit from the sealed
penetralia were
pro-
fanely 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, have 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,
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
page: 33
subject of 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 somehow 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 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 vext, 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 com-
plied, 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 sup-
pose, 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, and Italian, said something to another who
stood
next to him. He spoke with a Genoese accent, and I lost
the sense
in the villainous dialect. “Che so?” replied the other, lifting his
eyebrows
toward 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
dì ch' han detto ai dolci amici adio.”
“La notte, vuoi dire,” said a
third.
There was a general laugh. My compatriot was evidently
a
novice in the language, and did not take in what was said.
I
remained silent, being amused.
‘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
rein.”
My reader thinks possibly that the French student was
right.
Transcribed Footnote (page 33):
*I should here say, that in the catalogue for the year just over,
(owing, as in
cases before mentioned, to the zeal and
enthusiasm of Dr. Aemmester) 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.