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C.D. Warner, et al., comp.  The Library of the World’s Best Literature.
An Anthology in Thirty Volumes.  1917.
 
The Madonna of the Future
By Henry James (1843–1916)
 
From ‘A Passionate Pilgrim, and Other Tales’

WE had been talking about the masters who had achieved but a single masterpiece,—the artists and poets who but once in their lives had known the divine afflatus, and touched the high level of the best. Our host had been showing us a charming little cabinet picture by a painter whose name we had never heard, and who after this one spasmodic bid for fame had apparently relapsed into fatal mediocrity. There was some discussion as to the frequency of this phenomenon; during which I observed H—— sat silent, finishing his cigar with a meditative air, and looking at the picture which was being handed round the table. “I don’t know how common a case it is,” he said at last, “but I’ve seen it. I’ve known a poor fellow who painted his one masterpiece—and,” he added with a smile, “he didn’t even paint that. He made his bid for fame and missed it.” We all knew H—— for a clever man who had seen much of men and manners, and had a great stock of reminiscences. Some one immediately questioned him further; and while I was engrossed with the raptures of my neighbor over the little picture, he was induced to tell his tale. If I were to doubt whether it would bear repeating, I should only have to remember how that charming woman our hostess, who had left the table, ventured back in rustling rose color to pronounce our lingering a want of gallantry, and finding us a listening circle had sunk into her chair in spite of our cigars, and heard the story out so graciously that when the catastrophe was reached, she glanced across at me and showed me a tender tear in each of her beautiful eyes.  1
 
  IT relates to my youth, and to Italy: two fine things! (H—— began). I had arrived late in the evening at Florence, and while I finished my bottle of wine at supper, had fancied that, tired traveler though I was, I might pay the city a finer compliment than by going vulgarly to bed. A narrow passage wandered darkly away out of the little square before my hotel, and looked as if it bored into the heart of Florence. I followed it, and at the end of ten minutes emerged upon a great piazza, filled only with the mild autumn moonlight. Opposite rose the Palazzo Vecchio like some huge civic fortress, with the great bell-tower springing from its embattled verge like a mountain pine from the edge of a cliff. At its base in its projected shadow gleamed certain dim sculptures which I wonderingly approached. One of the images on the left of the palace door was a magnificent colossus, shining through the dusky air like some embodied Defiance. In a moment I recognized him as Michael Angelo’s David. I turned with a certain relief from his sinister strength to a slender figure in bronze, stationed beneath the high, light loggia which opposes the free and elegant span of its arches to the dead masonry of the palace: a figure supremely shapely and graceful; gentle almost, in spite of his holding out with his light nervous arm the snaky head of the slaughtered Gorgon. His name is Perseus, and you may read his story, not in Greek mythology, but in the memoirs of Benvenuto Cellini. Glancing from one of these fine fellows to the other, I probably uttered some irrepressible commonplace of praise; for as if provoked by my voice, a man rose from the steps of the loggia where he had been sitting in the shadow, and addressed me in good English,—a small slim personage, clad in a sort of black-velvet tunic (as it seemed), and with a mass of auburn hair, which gleamed in the moonlight, escaping from a little mediæval berretta. In a tone of the most insinuating deference he asked me for my “impressions.” He seemed picturesque, fantastic, slightly unreal. Hovering there in this consecrated neighborhood, he might have passed for the genius of æsthetic hospitality,—if the genius of æsthetic hospitality were not commonly some shabby little custode, flourishing a calico pocket-handkerchief, and openly resentful of the divided franc. This fantasy was made none the less plausible by the brilliant tirade with which he greeted my embarrassed silence.  2
  “I’ve known Florence long, sir, but I’ve never known her so lovely as to-night. It’s as if the ghosts of her past were abroad in the empty streets. The present is sleeping; the past hovers about us like a dream made visible. Fancy the old Florentines strolling up in couples to pass judgment on the last performance of Michael, of Benvenuto! We should come in for a precious lesson if we might overhear what they say. The plainest burgher of them in his cap and gown had a taste in the matter! That was the prime of art, sir. The sun stood high in heaven, and his broad and equal blaze made the darkest places bright and the dullest eyes clear. We live in the evening of time! We grope in the gray dusk, carrying each our poor little taper of selfish and painful wisdom, holding it up to the great models and to the dim idea, and seeing nothing but overwhelming greatness and dimness. The days of illumination are gone! But do you know I fancy—I fancy”—and he grew suddenly almost familiar in this visionary fervor—“I fancy the light of that time rests upon us here for an hour! I have never seen the David so grand, the Perseus so fair! Even the inferior productions of John of Bologna and of Baccio Bandinelli seem to realize the artist’s dream. I feel as if the moonlit air were charged with the secrets of the masters, and as if, standing here in religious contemplation, we might—we might witness a revelation!” Perceiving at this moment, I suppose, my halting comprehension reflected in my puzzled face, this interesting rhapsodist paused and blushed. Then with a melancholy smile, “You think me a moonstruck charlatan, I suppose. It’s not my habit to hang about the piazza and pounce upon innocent tourists. But to-night I confess I’m under the charm. And then somehow I fancied you too were an artist!”  3
  “I’m not an artist, I’m sorry to say, as you must understand the term. But pray make no apologies. I am also under the charm: your eloquent reflections have only deepened it.”  4
  “If you’re not an artist, you’re worthy to be one!” he rejoined with a bow. “A young man who arrives at Florence late in the evening, and instead of going prosaically to bed, or hanging over the travelers’ book at his hotel, walks forth without loss of time to pay his devoirs to the beautiful, is a young man after my own heart!”  5
  The mystery was suddenly solved: my friend was an American! He must have been, to take the picturesque so prodigiously to heart. “None the less so, I trust,” I answered, “if the young man is a sordid New-Yorker.”  6
  “New-Yorkers,” he solemnly proclaimed, “have been munificent patrons of art!”  7
  For a moment I was alarmed. Was this midnight revery mere Yankee enterprise, and was he simply a desperate brother of the brush who had posted himself here to extort an “order” from a sauntering tourist? But I was not called to defend myself. A great brazen note broke suddenly from the far-off summit of the bell-tower above us, and sounded the first stroke of midnight. My companion started, apologized for detaining me, and prepared to retire. But he seemed to offer so lively a promise of further entertainment that I was indisposed to part with him, and suggested that we should stroll homeward together. He cordially assented, so we turned out of the Piazza, passed down before the statued arcade of the Uffizi, and came out upon the Arno.  8
  What course we took I hardly remember; but we roamed slowly about for an hour, my companion delivering by snatches a sort of moon-touched æsthetic lecture. I listened in puzzled fascination, and wondered who the deuce he was. He confessed with a melancholy but all-respectful head-shake to his American origin. “We are the disinherited of Art!” he cried. “We are condemned to be superficial! We are excluded from the magic circle. The soil of American perception is a poor little barren artificial deposit. Yes! we are wedded to imperfection. An American, to excel, has just ten times as much to learn as a European. We lack the deeper sense. We have neither taste nor tact nor force. How should we have them? Our crude and garish climate, our silent past, our deafening present, the constant pressure about us of unlovely circumstance, are as void of all that nourishes and prompts and inspires the artist as my sad heart is void of bitterness in saying so! We poor aspirants must live in perpetual exile.”  9
  “You seem fairly at home in exile,” I answered, “and Florence seems to me a very pretty Siberia. But do you know my own thought? Nothing is so idle as to talk about our want of a nutritive soil, of opportunity, of inspiration, and all the rest of it. The worthy part is to do something fine! There’s no law in our glorious Constitution against that. Invent, create, achieve! No matter if you’ve to study fifty times as much as one of these! What else are you an artist for? Be you our Moses,” I added, laughing and laying my hand on his shoulder, “and lead us out of the house of bondage!”  10
  “Golden words—golden words, young man!” he cried with a tender smile. “‘Invent, create, achieve!’ Yes, that’s our business: I know it well. Don’t take me in Heaven’s name for one of your barren complainers,—querulous cynics who have neither talent nor faith! I’m at work!”—and he glanced about him and lowered his voice as if this were a quite peculiar secret—“I’m at work night and day. I’ve undertaken a creation! I’m no Moses; I’m only a poor, patient artist: but it would be a fine thing if I were to cause some slender stream of beauty to flow in our thirsty land! Don’t think me a monster of conceit,” he went on, as he saw me smile at the avidity with which he adopted my fantasy: “I confess that I’m in one of those moods when great things seem possible! This is one of my nervous nights—I dream waking! When the south wind blows over Florence at midnight, it seems to coax the soul from all the fair things locked away in her churches and galleries; it comes into my own little studio with the moonlight, and sets my heart beating too deeply for rest. You see I am always adding a thought to my conception! This evening I felt that I couldn’t sleep unless I had communed with the genius of Michael!”  11
  He seemed deeply versed in local history and tradition, and he expatiated con amore on the charms of Florence. I gathered that he was an old resident, and that he had taken the lovely city into his heart. “I owe her everything,” he declared. “It’s only since I came here that I have really lived, intellectually. One by one all profane desires, all mere worldly aims, have dropped away from me, and left me nothing but my pencil, my little note-book” (and he tapped his breast pocket), “and the worship of the pure masters,—those who were pure because they were innocent, and those who were pure because they were strong!”  12
  “And have you been very productive all this time?” I asked with amenity.  13
  He was silent awhile before replying. “Not in the vulgar sense!” he said at last. “I have chosen never to manifest myself by imperfection. The good in every performance I have reabsorbed into the generative force of new creations; the bad—there’s always plenty of that—I have religiously destroyed. I may say, with some satisfaction, that I have not added a mite to the rubbish of the world. As a proof of my conscientiousness,”—and he stopped short and eyed me with extraordinary candor, as if the proof were to be overwhelming,—“I’ve never sold a picture! ‘At least no merchant traffics in my heart!’ Do you remember the line in Browning? My little studio has never been profaned by superficial, feverish, mercenary work. It’s a temple of labor, but of leisure! Art is long. If we work for ourselves, of course we must hurry. If we work for her, we must often pause. She can wait!”  14
  This had brought us to my hotel door; somewhat to my relief, I confess, for I had begun to feel unequal to the society of a genius of this heroic strain. I left him, however, not without expressing a friendly hope that we should meet again. The next morning my curiosity had not abated: I was anxious to see him by common daylight. I counted upon meeting him in one of the many æsthetic haunts of Florence, and I was gratified without delay. I found him in the course of the morning in the Tribune of the Uffizi,—that little treasure chamber of perfect works. He had turned his back on the Venus de’ Medici, and with his arms resting on the railing which protects the pictures, and his head buried in his hands, he was lost in the contemplation of that superb triptych of Andrea Mantegna,—a work which has neither the material splendor nor the commanding force of some of its neighbors, but which, glowing there with the loveliness of patient labor, suits possibly a more constant need of the soul. I looked at the picture for some time over his shoulder; at last, with a heavy sigh, he turned away and our eyes met. As he recognized me a deep blush rose to his face; he fancied perhaps that he had made a fool of himself over-night. But I offered him my hand with a frankness which assured him I was not a scoffer.  15
  I knew him by his ardent chevelure; otherwise he was much altered. His midnight mood was over, and he looked as haggard as an actor by daylight. He was far older than I had supposed, and he had less bravery of costume and gesture. He seemed quite the poor, patient artist he had proclaimed himself, and the fact that he had never sold a picture was more obvious than glorious. His velvet coat was threadbare; and his short slouched hat, of an antique pattern, revealed a rustiness which marked it an “original,” and not one of the picturesque reproductions which brethren of his craft affect. His eye was mild and heavy, and his expression singularly gentle and acquiescent; the more so for a certain pallid leanness of visage which I hardly knew whether to refer to the consuming fire of genius or to a meagre diet. A very little talk, however, cleared his brow and brought back his eloquence.  16
  “And this is your first visit to these enchanted halls?” he cried. “Happy, thrice happy youth!” And taking me by the arm, he prepared to lead me to each of the pre-eminent works in turn and show me the cream of the gallery. But before we left the Mantegna, he pressed my arm and gave it a loving look. “He was not in a hurry,” he murmured. “He knew nothing of ‘raw Haste, half-sister to Delay’!” How sound a critic my friend was, I am unable to say; but he was an extremely amusing one,—overflowing with opinions, theories, and sympathies, with disquisition and gossip and anecdote. He was a shade too sentimental for my own sympathies, and I fancied he was rather too fond of superfine discriminations and of discovering subtle intentions in the shallow felicities of chance. At moments too he plunged into the sea of metaphysics, and floundered awhile in waters too deep for intellectual security. But his abounding knowledge and happy judgment told a touching story of long attentive hours in this worshipful company; there was a reproach to my wasteful saunterings in so devoted a culture of opportunity. “There are two moods,” I remember his saying, “in which we may walk through galleries,—the critical and the ideal. They seize us at their pleasure, and we can never tell which is to take its turn. The critical mood, oddly, is the genial one, the friendly, the condescending. It relishes the pretty trivialities of art, its vulgar clevernesses, its conscious graces. It has a kindly greeting for anything which looks as if, according to his light, the painter had enjoyed doing it,—for the little Dutch cabbages and kettles, for the taper fingers and breezy mantles of late-coming Madonnas, for the little blue-hilled, pastoral, skeptical Italian landscapes. Then there are the days of fierce, fastidious longing,—solemn church feasts of the intellect,—when all vulgar effort and all petty success is a weariness, and everything but the best—the best of the best—disgusts. In these hours we are relentless aristocrats of taste. We’ll not take Michael for granted, we’ll not swallow Raphael whole!”  17
  The gallery of the Uffizi is not only rich in its possessions, but peculiarly fortunate in that fine architectural accident, as one may call it, which unites it—with the breadth of river and city between them—to those princely chambers of the Pitti Palace. The Louvre and the Vatican hardly give you such a sense of sustained inclosure as those long passages projected over street and stream to establish a sort of inviolate transition between the two palaces of art. We passed along the gallery in which those precious drawings by eminent hands hang chaste and gray above the swirl and murmur of the yellow Arno, and reached the ducal saloons of the Pitti. Ducal as they are, it must be confessed that they are imperfect as show-rooms, and that with their deep-set windows and their massive moldings it is rather a broken light that reaches the pictured walls. But here the masterpieces hang thick, and you seem to see them in a luminous atmosphere of their own. And the great saloons, with their superb dim ceilings, their outer wall in splendid shadow, and the sombre opposite glow of mellow canvas and dusky gilding, make, themselves, almost as fine a picture as the Titians and Raphaels they imperfectly reveal. We lingered briefly before many a Raphael and Titian; but I saw my friend was impatient, and I suffered him at last to lead me directly to the goal of our journey,—the most tenderly fair of Raphael’s Virgins, the Madonna in the Chair. Of all the fine pictures of the world, it seemed to me this is the one with which criticism has least to do. None betrays less effort; less of the mechanism of effect and of the irrepressible discord between conception and result, which shows dimly in so many consummate works. Graceful, human, near to our sympathies as it is, it has nothing of manner, of method, nothing almost of style; it blooms there in rounded softness, as instinct with harmony as if it were an immediate exhalation of genius. The figure melts away the spectator’s mind into a sort of passionate tenderness, which he knows not whether he has given to heavenly purity or to earthly charm. He is intoxicated with the fragrance of the tenderest blossom of maternity that ever bloomed on earth.  18
  “That’s what I call a fine picture,” said my companion, after we had gazed awhile in silence. “I have a right to say so, for I’ve copied it so often and so carefully that I could repeat it now with my eyes shut. Other works are of Raphael: this is Raphael himself. Others you can praise, you can qualify, you can measure, explain, account for: this you can only love and admire. I don’t know in what seeming he walked among men while this divine mood was upon him; but after it, surely, he could do nothing but die: this world had nothing more to teach him. Think of it awhile, my friend, and you’ll admit that I’m not raving. Think of his seeing that spotless image not for a moment, for a day, in a happy dream, as a restless fever-fit,—not as a poet in a five-minutes’ frenzy, time to snatch his phrase and scribble his immortal stanza,—but for days together, while the slow labor of the brush went on, while the foul vapors of life interposed, and the fancy ached with tension, fixed, radiant, distinct, as we see it now! What a master, certainly! But ah, what a seer!”  19
  “Don’t you imagine,” I answered, “that he had a model, and that some pretty young woman—”  20
  “As pretty a young woman as you please—it doesn’t diminish the miracle! He took his hint, of course, and the young woman possibly sat smiling before his canvas. But meanwhile the painter’s idea had taken wings. No lovely human outline could charm it to vulgar fact. He saw the fair form made perfect; he rose to the vision without tremor, without effort of wing; he communed with it face to face, and resolved into finer and lovelier truth the purity which completes it as the perfume completes the rose. That’s what they call idealism: the word’s vastly abused, but the thing is good. It’s my own creed, at any rate. Lovely Madonna, model at once and muse, I call you to witness that I too am an idealist!”  21
  “An idealist, then,” I said half jocosely, wishing to provoke him to further utterance, “is a gentleman who says to Nature in the person of a beautiful girl, ‘Go to, you’re all wrong! Your fine is coarse, your bright is dim, your grace is gaucherie. This is the way you should have done it!’ Isn’t the chance against him?”  22
  He turned upon me almost angrily, but perceiving the genial flavor of my sarcasm, he smiled gravely. “Look at that picture,” he said, “and cease your irreverent mockery! Idealism is that! There’s no explaining it; one must feel the flame! It says nothing to Nature, or to any beautiful girl, that they’ll not both forgive! It says to the fair woman, ‘Accept me as your artist-friend, lend me your beautiful face, trust me, help me, and your eyes shall be half my masterpiece!’ No one so loves and respects the rich realities of nature as the artist whose imagination caresses and flatters them. He knows what a fact may hold (whether Raphael knew, you may judge by his portrait behind us there, of Tommaso Inghirami); but his fancy hovers about it as Ariel above the sleeping prince. There is only one Raphael, but an artist may still be an artist. As I said last night, the days of illumination are gone: visions are rare; we have to look long to see them. But in meditation we may still woo the ideal; round it, smooth it, perfect it. The result—the result—” here his voice faltered suddenly, and he fixed his eyes for a moment on the picture; when they met my own again they were full of tears—“the result may be less than this; but still it may be good, it may be great!” he cried with vehemence. “It may hang somewhere, in after years, in goodly company, and keep the artist’s memory warm. Think of being known to mankind after some such fashion as this! of hanging here through the slow centuries in the gaze of an altered world, living on and on in the cunning of an eye and hand that are part of the dust of ages, a delight and a law to remote generations; making beauty a force, and purity an example!”  23
  “Heaven forbid,” I said smiling, “that I should take the wind out of your sails: but doesn’t it occur to you that beside being strong in his genius, Raphael was happy in a certain good faith of which we have lost the trick? There are people, I know, who deny that his spotless Madonnas are anything more than pretty blondes of that period, enhanced by the Raphaelesque touch, which they declare is a profane touch. Be that as it may, people’s religious and æsthetic needs went hand in hand; and there was, as I may say, a demand for the Blessed Virgin, visible and adorable, which must have given firmness to the artist’s hand. I’m afraid there is no demand now.”  24
  My companion seemed painfully puzzled; he shivered, as it were, in this chilling blast of skepticism. Then shaking his head with sublime confidence, “There is always a demand!” he cried: “that ineffable type is one of the eternal needs of man’s heart; but pious souls long for it in silence, almost in shame. Let it appear, and this faith grows brave. How should it appear in this corrupt generation? It can’t be made to order. It could indeed when the order came, trumpet-toned, from the lips of the Church herself, and was addressed to genius panting with inspiration. But it can spring now only from the soil of passionate labor and culture. Do you really fancy that while from time to time a man of complete artistic vision is born into the world, that image can perish? The man who paints it has painted everything. The subject admits of every perfection,—form, color, expression, composition. It can be as simple as you please, and yet as rich; as broad and pure, and yet as full of delicate detail. Think of the chance for flesh in the little naked, nestling child, irradiating divinity; of the chance for drapery in the chaste and ample garment of the mother! Think of the great story you compress into that simple theme! Think, above all, of the mother’s face and its ineffable suggestiveness; of the mingled burden of joy and trouble, the tenderness turned to worship, and the worship turned to far-seeing pity! Then look at it all in perfect line and lovely color, breathing truth and beauty and mastery!”  25
  “‘Anch’ io son pittore!’” 1 I cried. “Unless I’m mistaken, you’ve a masterpiece on the stocks. If you put all that in, you’ll do more than Raphael himself did. Let me know when your picture is finished, and wherever in the wide world I may be, I’ll post back to Florence and make my bow to—the Madonna of the future!”  26
  He blushed vividly and gave a heavy sigh, half of protest, half of resignation. “I don’t often mention my picture, in so many words. I detest this modern custom of premature publicity. A great work needs silence, privacy, mystery even. And then, do you know, people are so cruel, so frivolous, so unable to imagine a man’s wishing to paint a Madonna at this time of day, that I’ve been laughed at—laughed at, sir!” And his blush deepened to crimson. “I don’t know what has prompted me to be so frank and trustful with you. You look as if you wouldn’t laugh at me. My dear young man,”—and he laid his hand on my arm,—“I’m worthy of respect. Whatever my talents may be, I’m honest. There’s nothing grotesque in a pure ambition, or in a life devoted to it!”  27
  There was something so sternly sincere in his look and tone, that further questions seemed impertinent. I had repeated opportunity to ask them, however; for after this we spent much time together. Daily, for a fortnight, we met by appointment, to see the sights. He knew the city so well, he had strolled and lounged so often through its streets and churches and galleries, he was so deeply versed in its greater and lesser memories, so imbued with the local genius, that he was an altogether ideal valet de place; and I was glad enough to leave my Murray at home, and gather facts and opinions alike from his gossiping commentary. He talked of Florence like a lover, and admitted that it was a very old affair; he had lost his heart to her at first sight. “It’s the fashion to talk of all cities as feminine,” he said; “but as a rule, it’s a monstrous mistake. Is Florence of the same sex as New York, as Chicago? She’s the sole true woman of them all; one feels towards her as a lad in his teens feels to some beautiful older woman with a ‘history.’ It’s a sort of aspiring gallantry she creates.” This disinterested passion seemed to stand my friend in stead of the common social ties; he led a lonely life, apparently, and cared for nothing but his work. I was duly flattered by his having taken my frivolous self into his favor, and by his generous sacrifice of precious hours, as they must have been, to my society. We spent many of these hours among those early paintings in which Florence is so rich, returning ever and anon with restless sympathies to wonder whether these tender blossoms of art had not a vital fragrance and savor more precious than the full-fruited knowledge of the later works. We lingered often in the sepulchral chapel of San Lorenzo, and watched Michael Angelo’s dim-visaged warrior sitting there like some awful Genius of Doubt and brooding behind his eternal mask upon the mysteries of life. We stood more than once in the little convent chambers where Fra Angelico wrought as if an angel indeed had held his hand, and gathered that sense of scattered dews and early bird-notes which makes an hour among his relics seem like a morning stroll in some monkish garden. We did all this and much more,—wandered into dark chapels, damp courts, and dusty palace-rooms, in quest of lingering hints of fresco and lurking treasures of carving.  28
  I was more and more impressed with my companion’s prodigious singleness of purpose. Everything was a pretext for some wildly idealistic rhapsody or revery. Nothing could be seen or said that did not end sooner or later in a glowing discourse on the true, the beautiful, and the good. If my friend was not a genius, he was certainly a monomaniac; and I found as great a fascination in watching the odd lights and shades of his character as if he had been a creature from another planet. He seemed indeed to know very little of this one, and lived and moved altogether in his own little province of art. A creature more unsullied by the world it is impossible to conceive; and I often thought it a flaw in his artistic character that he hadn’t a harmless vice or two. It amused me vastly at times to think that he was of our shrewd Yankee race; but after all, there could be no better token of his American origin than this high æsthetic fever. The very heat of his devotion was a sign of conversion: those born to European opportunity manage better to reconcile enthusiasm with comfort. He had, moreover, all our native mistrust for intellectual discretion and our native relish for sonorous superlatives. As a critic he was vastly more generous than just; and his mildest terms of approbation were “stupendous,” “transcendent,” and “incomparable.” The small-change of admiration seemed to him no coin for a gentleman to handle; and yet, frank as he was intellectually, he was personally altogether a mystery. His professions somehow were all half-professions; and his allusions to his work and circumstances left something dimly ambiguous in the background. He was modest and proud, and never spoke of his domestic matters. He was evidently poor; yet he must have had some slender independence, since he could afford to make so merry over the fact that his culture of ideal beauty had never brought him a penny. His poverty, I suppose, was his motive for neither inviting me to his lodging nor mentioning its whereabouts. We met either in some public place or at my hotel, where I entertained him as freely as I might without appearing to be prompted by charity. He seemed always hungry, which was his nearest approach to a “redeeming vice.” I made a point of asking no impertinent questions; but each time we met I ventured to make some respectful allusion to the magnum opus,—to inquire, as it were, as to its health and progress. “We’re getting on, with the Lord’s help,” he would say with a grave smile. “We’re doing well. You see I have the grand advantage that I lose no time. These hours I spend with you are pure profit. They’re suggestive! Just as the truly religious soul is always at worship, the genuine artist is always in labor. He takes his property wherever he finds it, and learns some precious secret from every object that stands up in the light. If you but knew the rapture of observation! I gather with every glance some hint for light, for color or relief! When I get home, I pour out my treasures into the lap of my Madonna. Oh, I’m not idle! Nulla dies sine linea.”  29
  I was introduced in Florence to an American lady whose drawing-room had long formed an attractive place of reunion for the foreign residents. She lived on a fourth floor, and she was not rich; but she offered her visitors very good tea, little cakes at option, and conversation not quite to match. Her conversation had mainly an æsthetic flavor, for Mrs. Coventry was famously “artistic.” Her apartment was a sort of Pitti Palace au petit pied. She possessed “early masters” by the dozen,—a cluster of Peruginos in her dining-room, a Giotto in her boudoir, an Andrea del Sarto over her parlor chimney-piece. Backed by these treasures, and by innumerable bronzes, mosaics, majolica dishes, and little worm-eaten diptychs showing angular saints on gilded panels, our hostess enjoyed the dignity of a sort of high-priestess of the arts. She always wore on her bosom a huge miniature copy of the Madonna della Seggiola. Gaining her ear quietly one evening, I asked her whether she knew that remarkable man Mr. Theobald.  30
  “Know him!” she exclaimed; “know poor Theobald! All Florence knows him,—his flame-colored locks, his black-velvet coat, his interminable harangues on the beautiful, and his wondrous Madonna that mortal eye has never seen, and that mortal patience has quite given up expecting.”  31
  “Really,” I cried, “you don’t believe in his Madonna?”  32
  “My dear ingenuous youth,” rejoined my shrewd friend, “has he made a convert of you? Well, we all believed in him once: he came down upon Florence and took the town by storm. Another Raphael, at the very least, had been born among men, and poor dear America was to have the credit of him. Hadn’t he the very hair of Raphael flowing down on his shoulders? The hair, alas, but not the head! We swallowed him whole, however; we hung upon his lips and proclaimed his genius on the house-tops. The women were all dying to sit to him for their portraits and be made immortal, like Leonardo’s Joconde. We decided that his manner was a good deal like Leonardo’s,—mysterious and inscrutable and fascinating. Mysterious it certainly was; mystery was the beginning and the end of it. The months passed by, and the miracle hung fire; our master never produced his masterpiece. He passed hours in the galleries and churches, posturing, musing, and gazing; he talked more than ever about the beautiful—but he never put brush to canvas. We had all subscribed, as it were, to the great performance; but as it never came off, people began to ask for their money again. I was one of the last of the faithful; I carried devotion so far as to sit to him for my head. If you could have seen the horrible creature he made of me, you would admit that even a woman with no more vanity than will tie her bonnet straight must have cooled off then. The man didn’t know the very alphabet of drawing! His strong point, he intimated, was his sentiment; but is it a consolation, when one has been painted a fright, to know it has been done with peculiar gusto? One by one, I confess, we fell away from the faith; and Mr. Theobald didn’t lift his little finger to preserve us. At the first hint that we were tired of waiting and that we should like the show to begin, he was off in a huff. ‘Great work requires time, contemplation, privacy, mystery! O ye of little faith!’ We answered that we didn’t insist on a great work; that the five-act tragedy might come at his convenience; that we merely asked for something to keep us from yawning, some inexpensive little lever de rideau. Hereupon the poor man took his stand as a genius misconceived and persecuted, an âme méconnue, and washed his hands of us from that hour! No, I believe he does me the honor to consider me the head and front of the conspiracy formed to nip his glory in the bud,—a bud that has taken twenty years to blossom. Ask him if he knows me, and he’ll tell you I’m a horribly ugly old woman who has vowed his destruction because he wouldn’t paint her portrait as a pendant to Titian’s Flora. I fancy that since then he has had none but chance followers: innocent strangers like yourself, who have taken him at his word. The mountain’s still in labor; I’ve not heard that the mouse has been born. I pass him once in a while in the galleries, and he fixes his great dark eyes on me with a sublimity of indifference, as if I were a bad copy of a Sassoferrato! It is a long time ago now that I heard that he was making studies for a Madonna who was to be a résumé of all the other Madonnas of the Italian school,—like that antique Venus who borrowed a nose from one great image and an ankle from another. It’s certainly a masterly idea. The parts may be fine, but when I think of my unhappy portrait I tremble for the whole. He has communicated this striking idea under the pledge of solemn secrecy to fifty chosen spirits,—to every one he has ever been able to buttonhole for five minutes. I suppose he wants to get an order for it, and he’s not to blame; for Heaven knows how he lives.—I see by your blush,” my hostess frankly continued, “that you have been honored with his confidence. You needn’t be ashamed, my dear young man: a man of your age is none the worse for a certain generous credulity. Only allow me to give you a word of advice: keep your credulity out of your pockets! Don’t pay for the picture till it’s delivered. You’ve not been treated to a peep at it, I imagine. No more have your fifty predecessors in the faith. There are people who doubt whether there is any picture to be seen. I fancy, myself, that if one were to get into his studio, one would find something very like the picture in that tale of Balzac’s,—a mere mass of incoherent scratches and daubs, a jumble of dead paint!”  33
  I listened to this pungent recital in silent wonder. It had a painfully plausible sound, and was not inconsistent with certain shy suspicions of my own. My hostess was a clever woman, and presumably a generous one. I determined to let my judgment wait upon events. Possibly she was right; but if she was wrong, she was cruelly wrong! Her version of my friend’s eccentricities made me impatient to see him again and examine him in the light of public opinion. On our next meeting, I immediately asked him if he knew Mrs. Coventry. He laid his hand on my arm and gave me a sad smile. “Has she taxed your gallantry at last?” he asked. “She’s a foolish woman. She’s frivolous and heartless, and she pretends to be serious and kind. She prattles about Giotto’s second manner and Vittoria Colonna’s liaison with ‘Michael,’—one would think that Michael lived across the way and was expected in to take a hand at whist,—but she knows as little about art, and about the conditions of production, as I know about Buddhism.—She profanes sacred words,” he added more vehemently, after a pause. “She cares for you only as some one to hand teacups in that horrible mendacious little parlor of hers, with its trumpery Peruginos! If you can’t dash off a new picture every three days, and let her hand it round among her guests, she tells them in plain English you’re an impostor!”  34
  This attempt of mine to test Mrs. Coventry’s accuracy was made in the course of a late afternoon walk to the quiet old church of San Miniato, on one of the hill-tops which directly overlook the city, from whose gate you are guided to it by a stony and cypress-bordered walk, which seems a most fitting avenue to a shrine. No spot is more propitious to lingering repose 2 than the broad terrace in front of the church; where, lounging against the parapet, you may glance in slow alternation from the black and yellow marbles of the church façade, seamed and cracked with time and wind-sown with a tender flora of its own, down to the full domes and slender towers of Florence, and over to the blue sweep of the wide-mouthed cup of mountains into whose hollow the little treasure-city has been dropped. I had proposed, as a diversion from the painful memories evoked by Mrs. Coventry’s name, that Theobald should go with me the next evening to the opera, where some rarely played work was to be given. He declined, as I had half expected; for I had observed that he regularly kept his evenings in reserve, and never alluded to his manner of passing them. “You have reminded me before,” I said smiling, “of that charming speech of the Florentine painter in Alfred de Musset’s ‘Lorenzaccio’:—‘I do no harm to any one. I pass my days in my studio. On Sunday I go to the Annunziata, or to Santa Maria: the monks think I have a voice; they dress me in a white gown and a red cap, and I take a share in the choruses; sometimes I do a little solo: these are the only times I go into public. In the evening I visit my sweetheart; when the night is fine, we pass it on her balcony.’ I don’t know whether you have a sweetheart, or whether she has a balcony. But if you’re so happy, it’s certainly better than trying to find a charm in a third-rate prima donna.”  35
  He made no immediate response, but at last he turned to me solemnly. “Can you look upon a beautiful woman with reverent eyes?”  36
  “Really,” I said, “I don’t pretend to be sheepish, but I should be sorry to think I was impudent.” And I asked him what in the world he meant. When at last I had assured him that I could undertake to temper admiration with respect, he informed me, with an air of religious mystery, that it was in his power to introduce me to the most beautiful woman in Italy. “A beauty with a soul!”  37
  “Upon my word,” I cried, “you’re extremely fortunate. I shall rejoice to witness the conjunction.”  38
  “This woman’s beauty,” he answered, “is a lesson, a morality, a poem! It’s my daily study.”  39
  Of course, after this, I lost no time in reminding him of what, before we parted, had taken the shape of a promise. “I feel somehow,” he had said, “as if it were a sort of violation of that privacy in which I have always contemplated her beauty. This is friendship, my friend. No hint of her existence has ever fallen from my lips. But with too great a familiarity we are apt to lose a sense of the real value of things, and you perhaps will throw some new light upon it and offer a fresher interpretation.” We went accordingly by appointment to a certain ancient house in the heart of Florence,—the precinct of the Mercato Vecchio,—and climbed a dark steep staircase to the very summit of the edifice. Theobald’s beauty seemed as jealously exalted above the line of common vision as the Belle aux Cheveux d’Or in her tower-top. He passed without knocking into the dark vestibule of a small apartment, and flinging open an inner door, ushered me into a small saloon. The room seemed mean and sombre, though I caught a glimpse of white curtains swaying gently at an open window. At a table, near a lamp, sat a woman dressed in black, working at a piece of embroidery. As Theobald entered, she looked up calmly, with a smile; but seeing me, she made a movement of surprise, and rose with a kind of stately grace. Theobald stepped forward, took her hand and kissed it, with an indescribable air of immemorial usage. As he bent his head, she looked at me askance, and I thought she blushed.  40
  “Behold the Serafina!” said Theobald frankly, waving me forward. “This is a friend, and a lover of the arts,” he added, introducing me. I received a smile, a courtesy, and a request to be seated.  41
  The most beautiful woman in Italy was a person of a generous Italian type, and of a great simplicity of demeanor. Seated again at her lamp, with her embroidery, she seemed to have nothing whatever to say. Theobald, bending towards her in a sort of Platonic ecstasy, asked her a dozen paternally tender questions as to her health, her state of mind, her occupations, and the progress of her embroidery, which he examined minutely and summoned me to admire. It was some portion of an ecclesiastical vestment,—yellow satin wrought with an elaborate design of silver and gold. She made answer in a full, rich voice, but with a brevity which I hesitated whether to attribute to native reserve or to the profane constraint of my presence. She had been that morning to confession; she had also been to market, and had bought a chicken for dinner. She felt very happy; she had nothing to complain of, except that the people for whom she was making her vestment, and who furnished her materials, should be willing to put such rotten silver thread into the garment, as one might say, of the Lord. From time to time, as she took her slow stitches, she raised her eyes and covered me with a glance which seemed at first to denote a placid curiosity; but in which, as I saw it repeated, I thought I perceived the dim glimmer of an attempt to establish an understanding with me at the expense of our companion. Meanwhile, as mindful as possible of Theobald’s injunction of reverence, I considered the lady’s personal claims to the fine compliment he had paid her.  42
  That she was indeed a beautiful woman I perceived, after recovering from the surprise of finding her without the freshness of youth. Her beauty was of a sort which in losing youth loses little of its essential charm, expressed for the most part as it was in form and structure, and as Theobald would have said, in “composition.” She was broad and ample, low-browed and large-eyed, dark and pale. Her thick brown hair hung low beside her cheek and ear, and seemed to drape her head with a covering as chaste and formal as the veil of a nun. The poise and carriage of her head was admirably free and noble, and the more effective that their freedom was at moments discreetly corrected by a little sanctimonious droop, which harmonized admirably with the level gaze of her dark and quiet eye. A strong, serene physical nature, and the placid temper which comes of no nerves and no troubles, seemed this lady’s comfortable portion. She was dressed in plain dull black, save for a sort of dark-blue kerchief which was folded across her bosom and exposed a glimpse of her massive throat. Over this kerchief was suspended a little silver cross. I admired her greatly, and yet with a large reserve. A certain mild intellectual apathy belonged properly to her type of beauty, and had always seemed to round and enrich it; but this bourgeoise Egeria, if I viewed her right, betrayed a rather vulgar stagnation of mind. There might have been once a dim spiritual light in her face; but it had long since begun to wane. And furthermore, in plain prose, she was growing stout. My disappointment amounted very nearly to complete disenchantment when Theobald, as if to facilitate my covert inspection, declaring that the lamp was very dim and that she would ruin her eyes without more light, rose and fetched a couple of candles from the mantelpiece, which he placed lighted on the table. In this brighter illumination I perceived that our hostess was decidedly an elderly woman. She was neither haggard nor worn nor gray: she was simply coarse. The “soul” which Theobald had promised seemed scarcely worth making such a point of; it was no deeper mystery than a sort of matronly mildness of lip and brow. I would have been ready even to declare that that sanctified bend of the head was nothing more than the trick of a person constantly working at embroidery. It occurred to me even that it was a trick of a less innocent sort; for in spite of the mellow quietude of her wits, this stately needlewoman dropped a hint that she took the situation rather less au sérieux than her friend. When he rose to light the candles, she looked across at me with a quick, intelligent smile, and tapped her forehead with her forefinger; then, as from a sudden feeling of compassionate loyalty to poor Theobald I preserved a blank face, she gave a little shrug and resumed her work.  43
  What was the relation of this singular couple? Was he the most ardent of friends, or the most reverent of lovers? Did she regard him as an eccentric youth whose benevolent admiration of her beauty she was not ill pleased to humor, at this small cost of having him climb into her little parlor and gossip of summer nights? With her decent and sombre dress, her simple gravity, and that fine piece of priestly needlework, she looked like some pious lay member of a sisterhood, living by special permission outside her convent walls. Or was she maintained here aloft by her friend in comfortable leisure, so that he might have before him the perfect eternal type, uncorrupted and untarnished by the struggle for existence? Her shapely hands, I observed, were very fair and white; they lacked the traces of what is called “honest toil.”  44
  “And the pictures, how do they come on?” she asked of Theobald after a long pause.  45
  “Finely, finely! I have here a friend whose sympathy and encouragement give me new faith and ardor.”  46
  Our hostess turned to me; gazed at me a moment rather inscrutably; and then, tapping her forehead with the gesture she had used a minute before, “He has a magnificent genius!” she said with perfect gravity.  47
  “I am inclined to think so,” I answered with a smile.  48
  “Eh, why do you smile?” she cried. “If you doubt it, you must see the bambino!” And she took the lamp and conducted me to the other side of the room, where on the wall, in a plain black frame, hung a large drawing in red chalk. Beneath it was festooned a little bowl for holy water. The drawing represented a very young child, entirely naked, half nestling back against his mother’s gown, but with his two little arms outstretched, as if in the act of benediction. It was executed with singular freedom and power, and yet seemed vivid with the sacred bloom of infancy. A sort of dimpled elegance and grace, mingled with its boldness, recalled the touch of Correggio. “That’s what he can do!” said my hostess. “It’s the blessed little boy whom I lost. It’s his very image, and the Signor Teobaldo gave it me as a gift. He has given me many things beside!”  49
  I looked at the picture for some time, and admired it vastly. Turning back to Theobald, I assured him that if it were hung among the drawings in the Uffizi and labeled with a glorious name, it would hold its own. My praise seemed to give him extreme pleasure; he pressed my hands, and his eyes filled with tears. It moved him apparently with the desire to expatiate on the history of the drawing; for he rose and made his adieux to our companion, kissing her hand with the same mild ardor as before. It occurred to me that the offer of a similar piece of gallantry on my own part might help me to know what manner of woman she was. When she perceived my intention, she withdrew her hand, dropped her eyes solemnly, and made me a severe courtesy. Theobald took my arm and led me rapidly into the street.  50
  “And what do you think of the divine Serafina?” he cried with fervor.  51
  “It’s certainly good solid beauty!” I answered.  52
  He eyed me an instant askance, and then seemed hurried along by the current of remembrance. “You should have seen the mother and the child together, seen them as I first saw them,—the mother with her head draped in a shawl, a divine trouble in her face, and the bambino pressed to her bosom. You would have said, I think, that Raphael had found his match in common chance. I was coming in, one summer night, from a long walk in the country, when I met this apparition at the city gate. The woman held out her hand. I hardly knew whether to say, ‘What do you want?’ or to fall down and worship. She asked for a little money. I saw that she was beautiful and pale. She might have stepped out of the stable of Bethlehem! I gave her money and helped her on her way into the town. I had guessed her story. She too was a maiden mother, and she had been turned out into the world in her shame. I felt in all my pulses that here was my subject marvelously realized. I felt like one of the old convent artists who had had a vision. I rescued the poor creatures, cherished them, watched them as I would have done some precious work of art, some lovely fragment of fresco discovered in a moldering cloister. In a month—as if to deepen and consecrate the pathos of it all—the poor little child died. When she felt that he was going, she held him up to me for ten minutes, and I made that sketch. You saw a feverish haste in it, I suppose: I wanted to spare the poor little mortal the pain of his position. After that, I doubly valued the mother. She is the simplest, sweetest, most natural creature that ever bloomed in this brave old land of Italy. She lives in the memory of her child, in her gratitude for the scanty kindness I have been able to show her, and in her simple religion! She’s not even conscious of her beauty; my admiration has never made her vain. Heaven knows I’ve made no secret of it. You must have observed the singular transparency of her expression, the lovely modesty of her glance. And was there ever such a truly virginal brow, such a natural classic elegance in the wave of the hair and the arch of the forehead? I’ve studied her; I may say I know her. I’ve absorbed her little by little; my mind is stamped and imbued, and I have determined now to clinch the impression: I shall at last invite her to sit for me!”  53
  “‘At last’—‘at last’?” I repeated in much amazement. “Do you mean that she has never done so yet?”  54
  “I’ve not really had—a—a sitting,” said Theobald, speaking very slowly. “I’ve taken notes, you know; I’ve got my grand fundamental impression. That’s the great thing! But I’ve not actually had her as a model, posed and draped and lighted, before my easel.”  55
  What had become for the moment of my perception and my tact, I am at a loss to say; in their absence I was unable to repress headlong exclamation. I was destined to regret it. We had stopped at a turning, beneath a lamp. “My poor friend,” I exclaimed, laying my hand on his shoulder, “you’ve dawdled! She’s an old, old woman—for a Madonna!”  56
  It was as if I had brutally struck him; I shall never forget the long, slow, almost ghastly look of pain with which he answered me. “Dawdled—old, old!” he stammered. “Are you joking?”  57
  “Why, my dear fellow, I suppose you don’t take the woman for twenty?”  58
  He drew a long breath and leaned against a house, looking at me with questioning, protesting, reproachful eyes; at last, starting forward and grasping my arm—“Answer me solemnly: does she seem to you truly old? Is she wrinkled, is she faded, am I blind?”  59
  Then at last I understood the immensity of his illusion; how one by one the noiseless years had ebbed away, and left him brooding in charmed inaction, forever preparing for a work forever deferred. It seemed to me almost a kindness now to tell him the plain truth. “I should be sorry to say you’re blind,” I answered, “but I think you’re deceived. You’ve lost time in effortless contemplation. Your friend was once young and fresh and virginal; but I protest that was some years ago. Still, she has de beaux restes! By all means make her sit for you!” I broke down: his face was too horribly reproachful.  60
  He took off his hat and stood passing his handkerchief mechanically over his forehead. “De beaux restes? I thank you for sparing me the plain English. I must make up my Madonna out of de beaux restes! What a masterpiece she’ll be! Old—old! Old—old!” he murmured.  61
  “Never mind her age,” I cried, revolted at what I had done, “never mind my impression of her! You have your memory, your notes, your genius. Finish your picture in a month. I proclaim it beforehand a masterpiece, and I hereby offer you for it any sum you may choose to ask.”  62
  He stared, but he seemed scarcely to understand me. “Old—old!” he kept stupidly repeating. “If she is old, what am I? If her beauty has faded, where—where is my strength? Has life been a dream? Have I worshiped too long,—have I loved too well?” The charm, in truth, was broken. That the chord of illusion should have snapped at my light, accidental touch showed how it had been weakened by excessive tension. The poor fellow’s sense of wasted time, of vanished opportunity, seemed to roll in upon his soul in waves of darkness. He suddenly dropped his head and burst into tears.  63
  I led him homeward with all possible tenderness; but I attempted neither to check his grief, to restore his equanimity, nor to unsay the hard truth. When we reached my hotel I tried to induce him to come in. “We’ll drink a glass of wine,” I said, smiling, “to the completion of the Madonna.”  64
  With a violent effort he held up his head, mused for a moment with a formidably sombre frown, and then giving me his hand, “I’ll finish it,” he cried, “in a month! No, in a fortnight! After all, I have it here!” and he tapped his forehead. “Of course she’s old! She can afford to have it said of her—a woman who has made twenty years pass like a twelvemonth! Old—old! Why, sir, she shall be eternal!”  65
  I wished to see him safely to his own door; but he waved me back and walked away with an air of resolution, whistling and swinging his cane. I waited a moment, and then followed him at a distance, and saw him proceed to cross the Santa Trinità Bridge. When he reached the middle he suddenly paused, as if his strength had deserted him, and leaned upon the parapet gazing over into the river. I was careful to keep him in sight; I confess that I passed ten very nervous minutes. He recovered himself at last, and went his way, slowly and with hanging head.  66
  That I should have really startled poor Theobald into a bolder use of his long-garnered stores of knowledge and taste, into the vulgar effort and hazard of production, seemed at first reason enough for his continued silence and absence; but as day followed day without his either calling or sending me a line, and without my meeting him in his customary haunts,—in the galleries, in the chapel at San Lorenzo, or strolling between the Arno-side and the great hedge screen of verdure which, along the drive of the Cascine, throws the fair occupants of barouche and phaeton into such becoming relief,—as for more than a week I got neither tidings nor sight of him, I began to fear that I had fatally offended him; and that instead of giving wholesome impetus to his talent, I had brutally paralyzed it. I had a wretched suspicion that I had made him ill. My stay at Florence was drawing to a close; and it was important that before resuming my journey I should assure myself of the truth. Theobald to the last had kept his lodging a mystery, and I was altogether at a loss where to look for him. The simplest course was to make inquiry of the beauty of the Mercato Vecchio; and I confess that unsatisfied curiosity as to the lady herself counseled it as well. Perhaps I had done her injustice, and she was as immortally fresh and fair as he conceived her. I was at any rate anxious to behold once more the ripe enchantress who had made twenty years pass as a twelvemonth. I repaired accordingly one morning to her abode, climbed the interminable staircase, and reached her door. It stood ajar; and as I hesitated whether to enter, a little serving-maid came clattering out with an empty kettle, as if she had just performed some savory errand. The inner door too was open; so I crossed the little vestibule and entered the room in which I had formerly been received. It had not its evening aspect. The table, or one end of it, was spread for a late breakfast; and before it sat a gentleman—an individual at least of the male sex—dealing justice upon a beefsteak and onions and a bottle of wine. At his elbow, in friendly proximity, was placed the lady of the house. Her attitude as I entered was not that of an enchantress. With one hand she held in her lap a plate of smoking macaroni; with the other she had lifted high in air one of the pendulous filaments of this succulent compound, and was in the act of slipping it gently down her throat. On the uncovered end of the table, facing her companion, were ranged half a dozen small statuettes, of some snuff-colored substance resembling terra-cotta. He, brandishing his knife with ardor, was apparently descanting on their merits.  67
  Evidently I darkened the door. My hostess dropped her macaroni—into her mouth, and rose hastily with a harsh exclamation and a flushed face. I immediately perceived that the Signora Serafina’s secret was even better worth knowing than I had supposed, and that the way to learn it was to take it for granted. I summoned my best Italian, I smiled and bowed and apologized for my intrusion; and in a moment, whether or no I had dispelled the lady’s irritation, I had at least stimulated her prudence. I was welcome, she said; I must take a seat. This was another friend of hers—also an artist, she declared with a smile which was almost amiable. Her companion wiped his mustache and bowed with great civility. I saw at a glance that he was equal to the situation. He was presumably the author of the statuettes on the table, and he knew a money-spending forestiere when he saw one. He was a small, wiry man, with a clever, impudent, tossed-up nose, a sharp little black eye, and waxed ends to his mustache. On the side of his head he wore jauntily a little crimson velvet smoking-cap, and I observed that his feet were incased in brilliant slippers. On Serafina’s remarking with dignity that I was the friend of Mr. Theobald, he broke out into that fantastic French of which Italians are so insistently lavish, and declared with fervor that Mr. Theobald was a magnificent genius.  68
  “I’m sure I don’t know,” I answered with a shrug. “If you’re in a position to affirm it, you have the advantage of me. I’ve seen nothing from his hand but the bambino yonder, which certainly is fine.”  69
  He declared that the bambino was a masterpiece, a pure Correggio. It was only a pity, he added with a knowing laugh, that the sketch had not been made on some good bit of honeycombed old panel. The stately Serafina hereupon protested that Mr. Theobald was the soul of honor, and that he would never lend himself to a deceit. “I’m not a judge of genius,” she said, “and I know nothing of pictures. I’m but a poor simple widow; but I know that the Signor Teobaldo has the heart of an angel and the virtue of a saint.—He’s my benefactor,” she added sententiously. The after-glow of the somewhat sinister flush with which she had greeted me still lingered in her cheek, and perhaps did not favor her beauty: I could not but fancy it a wise custom of Theobald’s to visit her only by candlelight. She was coarse, and her poor adorer was a poet.  70
  “I have the greatest esteem for him,” I said: “it is for this reason that I have been uneasy at not seeing him for ten days. Have you seen him? Is he perhaps ill?”  71
  “Ill! Heaven forbid!” cried Serafina, with genuine vehemence.  72
  Her companion uttered a rapid expletive, and reproached her with not having been to see him. She hesitated a moment; then she simpered the least bit and bridled. “He comes to see me—without reproach! But it would not be the same for me to go to him, though indeed you may almost call him a man of holy life.”  73
  “He has the greatest admiration for you,” I said. “He would have been honored by your visit.”  74
  She looked at me a moment sharply. “More admiration than you. Admit that!” Of course I protested with all the eloquence at my command; and my mysterious hostess then confessed that she had taken no fancy to me on my former visit, and that, Theobald not having returned, she believed I had poisoned his mind against her. “It would be no kindness to the poor gentleman, I can tell you that,” she said. “He has come to see me every evening for years. It’s a long friendship! No one knows him as well as I.”  75
  “I don’t pretend to know him, or to understand him,” I said. “He’s a mystery! Nevertheless, he seems to me a little—” And I touched my forehead and waved my hand in the air.  76
  Serafina glanced at her companion a moment, as if for inspiration. He contented himself with shrugging his shoulders, as he filled his glass again. The padrona hereupon gave me a more softly insinuating smile than would have seemed likely to bloom on so candid a brow. “It’s for that that I love him!” she said. “The world has so little kindness for such persons. It laughs at them, and despises them, and cheats them. He is too good for this wicked life! It’s his fancy that he finds a little Paradise up here in my poor apartment. If he thinks so, how can I help it? He has a strange belief—really, I ought to be ashamed to tell you—that I resemble the Blessed Virgin: Heaven forgive me! I let him think what he pleases, so long as it makes him happy. He was very kind to me once, and I am not one that forgets a favor. So I receive him every evening civilly, and ask after his health, and let him look at me on this side and that! For that matter, I may say it without vanity, I was worth looking at once! And he’s not always amusing, poor man! He sits sometimes for an hour without speaking a word, or else he talks away, without stopping, on art and nature, and beauty and duty, and fifty fine things that are all so much Latin to me. I beg you to understand that he has never said a word to me that I mightn’t decently listen to. He may be a little cracked, but he’s one of the saints.”  77
  “Eh!” cried the man, “the saints were all a little cracked!”  78
  Serafina, I fancied, left part of her story untold; but she told enough of it to make poor Theobald’s own statement seem intensely pathetic in its exalted simplicity. “It’s a strange fortune, certainly,” she went on, “to have such a friend as this dear man,—a friend who’s less than a lover and more than a friend.” I glanced at her companion, who preserved an impenetrable smile, twisted the end of his mustache, and disposed of a copious mouthful. Was he less than a lover? “But what will you have?” Serafina pursued. “In this hard world one mustn’t ask too many questions; one must take what comes and keep what one gets. I’ve kept my good friend for twenty years, and I do hope that at this time of day, signore, you’ve not come to turn him against me!”  79
  I assured her that I had no such design, and that I should vastly regret disturbing Mr. Theobald’s habits or convictions. On the contrary, I was alarmed about him, and I should immediately go in search of him. She gave me his address, and a florid account of her sufferings at his non-appearance. She had not been to him, for various reasons; chiefly because she was afraid of displeasing him, as he had always made such a mystery of his home.  80
  “You might have sent this gentleman!” I ventured to suggest.  81
  “Ah,” cried the gentleman, “he admires the Signora Serafina, but he wouldn’t admire me.” And then, confidentially, with his finger on his nose, “He’s a purist!”  82
  I was about to withdraw, on the promise that I would inform the Signora Serafina of my friend’s condition, when her companion, who had risen from table and girded his loins apparently for the onset, grasped me gently by the arm, and led me before the row of statuettes. “I perceive by your conversation, signore, that you are a patron of the arts. Allow me to request your honorable attention for these modest products of my own ingenuity. They are brand-new, fresh from my atelier, and have never been exhibited in public. I have brought them here to receive the verdict of this dear lady, who is a good critic, for all she may pretend to the contrary. I am the inventor of this peculiar style of statuette,—of subject, manner, material, everything. Touch them, I pray you; handle them: you needn’t fear. Delicate as they look, it is impossible they should break! My various creations have met with great success. They are especially admired by Americans. I have sent them all over Europe,—to London, Paris, Vienna! You may have observed some little specimens in Paris, on the Boulevard, in a shop of which they constitute the specialty. There is always a crowd about the window. They form a very pleasing ornament for the mantel-shelf of a gay young bachelor, for the boudoir of a pretty woman. You couldn’t make a prettier present to a person with whom you wished to exchange a harmless joke. It is not classic art, signore, of course; but between ourselves, isn’t classic art sometimes rather a bore? Caricature, burlesque—la charge, as the French say—has hitherto been confined to paper, to the pen and pencil. Now, it has been my inspiration to introduce it into statuary. For this purpose I have invented a peculiar plastic compound which you will permit me not to divulge. That’s my secret, signore! It’s as light, you perceive, as cork, and yet as firm as alabaster! I frankly confess that I really pride myself as much on this little stroke of chemical ingenuity as upon the other element of novelty in my creations,—my types. What do you say to my types, signore? The idea is bold: does it strike you as happy? Cats and monkeys, monkeys and cats,—all human life is there! Human life, of course I mean, viewed with the eye of the satirist! To combine sculpture and satire, signore, has been my unprecedented ambition. I flatter myself that I have not egregiously failed.”  83
  As this jaunty Juvenal of the chimney-piece delivered himself of his persuasive allocution, he took up his little groups successively from the table, held them aloft, turned them about, rapped them with his knuckles, and gazed at them lovingly with his head on one side. They consisted each of a cat and a monkey, fantastically draped, in some preposterously sentimental conjunction. They exhibited a certain sameness of motive, and illustrated chiefly the different phases of what, in delicate terms, may be called gallantry and coquetry; but they were strikingly clever and expressive, and were at once very perfect cats and monkeys and very natural men and women. I confess, however, that they failed to amuse me. I was doubtless not in a mood to enjoy them, for they seemed to me peculiarly cynical and vulgar. Their imitative felicity was revolting. As I looked askance at the complacent little artist, brandishing them between finger and thumb, and caressing them with an amorous eye, he seemed to me himself little more than an exceptionally intelligent ape. I mustered an admiring grin, however, and he blew another blast. “My figures are studied from life! I have a little menagerie of monkeys whose frolics I contemplate by the hour. As for the cats, one has only to look out of one’s back window! Since I have begun to examine these expressive little brutes, I have made many profound observations. Speaking, signore, to a man of imagination, I may say that my little designs are not without a philosophy of their own. Truly, I don’t know whether the cats and monkeys imitate us, or whether it’s we who imitate them.” I congratulated him on his philosophy, and he resumed. “You will do me the honor to admit that I have handled my subjects with delicacy. Eh, it was needed, signore! I have been free, but not too free—eh? Just a hint, you know! You may see as much or as little as you please. These little groups, however, are no measure of my invention. If you will favor me with a call at my studio, I think that you will admit that my combinations are really infinite. I likewise execute figures to command. You have perhaps some little motive,—the fruit of your philosophy of life, signore,—which you would like to have interpreted. I can promise to work it up to your satisfaction; it shall be as malicious as you please! Allow me to present you with my card, and to remind you that my prices are moderate. Only sixty francs for a little group like that. My statuettes are as durable as bronze,—ære perennius, signore,—and between ourselves, I think they are more amusing!”  84
  As I pocketed his card I glanced at Madonna Serafina, wondering whether she had an eye for contrasts. She had picked up one of the little couples and was tenderly dusting it with a feather broom.  85
  What I had just seen and heard had so deepened my compassionate interest in my deluded friend, that I took a summary leave, and made my way directly to the house designated by this remarkable woman. It was in an obscure corner of the opposite side of the town, and presented a sombre and squalid appearance. An old woman in the doorway, on my inquiring for Theobald, ushered me in with a mumbled blessing and an expression of relief at the poor gentleman having a friend. His lodging seemed to consist of a single room at the top of the house. On getting no answer to my knock, I opened the door, supposing that he was absent; so that it gave me a certain shock to find him sitting there helpless and dumb. He was seated near the single window, facing an easel which supported a large canvas. On my entering, he looked up at me blankly, without changing his position, which was that of absolute lassitude and dejection, his arms loosely folded, his legs stretched before him, his head hanging on his breast. Advancing into the room, I perceived that his face vividly corresponded with his attitude. He was pale, haggard, and unshaven, and his dull and sunken eye gazed at me without a spark of recognition. I had been afraid that he would greet me with fierce reproaches, as the cruelly officious patron who had turned his peace to bitterness; and I was relieved to find that my appearance awakened no visible resentment. “Don’t you know me?” I asked as I put out my hand. “Have you already forgotten me?”  86
  He made no response, kept his position stupidly, and left me staring about the room. It spoke most plaintively for itself. Shabby, sordid, naked, it contained, beyond the wretched bed, but the scantiest provision for personal comfort. It was bedroom at once and studio,—a grim ghost of a studio. A few dusty casts and prints on the walls, three or four old canvases turned face inward, and a rusty-looking color-box, formed, with the easel at the window, the sum of its appurtenances. The place savored horribly of poverty. Its only wealth was the picture on the easel, presumably the famous Madonna. Averted as this was from the door, I was unable to see its face; but at last, sickened by the vacant misery of the spot, I passed behind Theobald, eagerly and tenderly. I can hardly say that I was surprised at what I found: a canvas that was a mere dead blank, cracked and discolored by time. This was his immortal work! Though not surprised, I confess I was powerfully moved, and I think that for five minutes I could not have trusted myself to speak. At last my silent nearness affected him; he stirred and turned, and then rose and looked at me with a slowly kindling eye. I murmured some kind, ineffective nothings about his being ill and needing advice and care; but he seemed absorbed in the effort to recall distinctly what had last passed between us. “You were right,” he said with a pitiful smile, “I’m a dawdler! I’m a failure! I shall do nothing more in this world. You opened my eyes; and though the truth is bitter, I bear you no grudge. Amen! I’ve been sitting here for a week, face to face with the truth, with the past, with my weakness and poverty and nullity. I shall never touch a brush! I believe I’ve neither eaten nor slept. Look at that canvas!” he went on, as I relieved my emotion in the urgent request that he would come home with me and dine. “That was to have contained my masterpiece! Isn’t it a promising foundation? The elements of it are all here.” And he tapped his forehead with that mystic confidence which had marked the gesture before. “If I could only transpose them into some brain that had the hand, the will! Since I’ve been sitting here taking stock of my intellects, I’ve come to believe that I have the material for a hundred masterpieces. But my hand is paralyzed now, and they’ll never be painted. I never began! I waited and waited to be worthier to begin, and wasted my life in preparation. While I fancied my creation was growing, it was dying. I’ve taken it all too hard! Michael Angelo didn’t when he went at the Lorenzo! He did his best at a venture, and his venture is immortal. That’s mine!” And he pointed, with a gesture I shall never forget, at the empty canvas. “I suppose we’re a genus by ourselves in the providential scheme,—we talents that can’t act, that can’t do nor dare! We take it out in talk, in plans and promises, in study, in visions! But our visions, let me tell you,” he cried with a toss of his head, “have a way of being brilliant, and a man hasn’t lived in vain who has seen the things I have! Of course you’ll not believe in them when that bit of worm-eaten cloth is all I have to show for them; but to convince you, to enchant and astound the world, I need only the hand of Raphael. I have his brain. A pity, you’ll say, I haven’t his modesty! Ah, let me babble now: it’s all I have left! I’m the half of a genius! Where in the wide world is my other half? Lodged perhaps in the vulgar soul, the cunning, ready fingers of some dull copyist, or some trivial artisan who turns out by the dozen his easy prodigies of touch! But it’s not for me to sneer at him: he at least does something. He’s not a dawdler! Well for me if I had been vulgar and clever and reckless,—if I could have shut my eyes and dealt my stroke!”  87
  What to say to the poor fellow, what to do for him, seemed hard to determine; I chiefly felt that I must break the spell of his present inaction, and remove him from the haunted atmosphere of the little room it seemed such cruel irony to call a studio. I cannot say I persuaded him to come out with me; he simply suffered himself to be led, and when we began to walk in the open air I was able to measure his pitifully weakened condition. Nevertheless he seemed in a certain way to revive, and murmured at last that he would like to go to the Pitti Gallery. I shall never forget our melancholy stroll through those gorgeous halls, every picture on whose walls seemed, even to my own sympathetic vision, to glow with a sort of insolent renewal of strength and lustre. The eyes and lips of the great portraits seemed to smile in ineffable scorn of the dejected pretender who had dreamed of competing with their triumphant authors; the celestial candor, even, of the Madonna in the Chair, as we paused in perfect silence before her, was tinged with the sinister irony of the women of Leonardo. Perfect silence indeed marked our whole progress,—the silence of a deep farewell; for I felt in all my pulses, as Theobald, leaning on my arm, dragged one heavy foot after the other, that he was looking his last. When we came out, he was so exhausted that instead of taking him to my hotel to dine, I called a carriage and drove him straight to his own poor lodging. He had sunk into an extraordinary lethargy; he lay back in the carriage with his eyes closed, as pale as death, his faint breathing interrupted at intervals by a sudden gasp, like a smothered sob or a vain attempt to speak. With the help of the old woman who had admitted me before, and who emerged from a dark back court, I contrived to lead him up the long steep staircase and lay him on his wretched bed. To her I gave him in charge, while I prepared in all haste to seek a physician. But she followed me out of the room with a pitiful clasping of her hands.  88
  “Poor, dear, blessed gentleman,” she murmured: “is he dying?”  89
  “Possibly. How long has he been thus?”  90
  “Since a night he passed ten days ago. I came up in the morning to make his poor bed, and found him sitting up in his clothes before that great canvas he keeps there. Poor, dear, strange man, he says his prayers to it! He had not been to bed, nor since then properly! What has happened to him? Has he found out about the Serafina?” she whispered with a glittering eye and a toothless grin.  91
  “Prove at least that one old woman can be faithful,” I said, “and watch him well till I come back.”  92
  My return was delayed through the absence of the English physician on a round of visits, and my vainly pursuing him from house to house before I overtook him. I brought him to Theobald’s bedside none too soon. A violent fever had seized our patient, and the case was evidently grave. A couple of hours later I knew that he had brain fever. From this moment I was with him constantly; but I am far from wishing to describe his illness. Excessively painful to witness, it was happily brief. Life burned out in delirium. A certain night that I passed at his pillow, listening to his wild snatches of regret, of aspiration, of rapture and awe at the phantasmal pictures with which his brain seemed to swarm, recurs to my memory now like some stray page from a lost masterpiece of tragedy.  93
  Before a week was over we had buried him in the little Protestant cemetery on the way to Fiesole. The Signora Serafina, whom I had caused to be informed of his illness, had come in person, I was told, to inquire about its progress; but she was absent from his funeral, which was attended by but a scanty concourse of mourners. Half a dozen old Florentine sojourners, in spite of the prolonged estrangement which had preceded his death, had felt the kindly impulse to honor his grave. Among them was my friend Mrs. Coventry, whom I found on my departure waiting at her carriage door at the gate of the cemetery.  94
  “Well,” she said, relieving at last with a significant smile the solemnity of our immediate greeting, “and the great Madonna? Have you seen her after all?”  95
  “I’ve seen her,” I said; “she’s mine—by bequest. But I shall never show her to you.”  96
  “And why not, pray?”  97
  “My dear Mrs. Coventry, you’d not understand her!”  98
  “Upon my word, you’re polite.”  99
  “Excuse me: I’m sad and vexed and bitter.” And with reprehensible rudeness I marched away. I was excessively impatient to leave Florence: my friend’s dark spirit seemed diffused through all things. I had packed my trunk to start for Rome that night; and meanwhile, to beguile my unrest, I aimlessly paced the streets. Chance led me at last to the church of San Lorenzo. Remembering poor Theobald’s phrase about Michael Angelo,—“He did his best at a venture,”—I went in and turned my steps to the chapel of the tombs. Viewing in sadness the sadness of its immortal treasures, I fancied, while I stood there, that the scene demanded no ampler commentary. As I passed through the church again to depart, a woman, turning away from one of the side altars, met me face to face. The black shawl depending from her head draped picturesquely the handsome visage of Madonna Serafina. She stopped as she recognized me, and I saw that she wished to speak. Her eye was bright, and her ample bosom heaved in a way that seemed to portend a certain sharpness of reproach. But the expression of my own face apparently drew the sting from her resentment, and she addressed me in a tone in which bitterness was tempered by a sort of dogged resignation. “I know it was you, now, that separated us,” she said. “It was a pity he ever brought you to see me! Of course you couldn’t think of me as he did. Well, the Lord gave him, the Lord has taken him. I’ve just paid for a nine-days’ mass for his soul. And I can tell you this, signore,—I never deceived him. Who put it into his head that I was made to live on holy thoughts and fine phrases? It was his own fancy, and it pleased him to think so. Did he suffer much?” she added more softly, after a pause.  100
  “His sufferings were great, but they were short.”  101
  “And did he speak of me?” She had hesitated, and dropped her eyes; she raised them with her question, and revealed in their sombre stillness a gleam of feminine confidence, which for the moment revived and illumined her beauty. Poor Theobald! Whatever name he had given his passion, it was still her fine eyes that had charmed him.  102
  “Be contented, madam,” I answered, gravely.  103
  She dropped her eyes again, and was silent. Then exhaling a full, rich sigh, as she gathered her shawl together: “He was a magnificent genius!”  104
  I bowed, and we separated.  105
  Passing through a narrow side street on my way back to my hotel, I perceived above a doorway a sign which it seemed to me I had read before. I suddenly remembered that it was identical with the superscription of a card that I had carried for an hour in my waistcoat pocket. On the threshold stood the ingenious artist whose claims to public favor were thus distinctly signalized, smoking a pipe in the evening air, and giving the finishing polish with a bit of rag to one of his inimitable “combinations.” I caught the expressive curl of a couple of tails. He recognized me, removed his little red cap with a most obsequious bow, and motioned me to enter his studio. I returned his bow and passed on, vexed with the apparition. For a week afterwards, whenever I was seized among the ruins of triumphant Rome with some peculiarly poignant memory of Theobald’s transcendent illusions and deplorable failure, I seemed to hear a fantastic, impertinent murmur, “Cats and monkeys, monkeys and cats—all human life is there!”  106
 
Note 1. “I am a painter also,”—Correggio’s famous remark on inspecting a collection of paintings. [back]
Note 2. 1869. [back]
 
 
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