Earthwork out of Tuscany Part 4

or when, of organ music, he says--

"Up aloft The silver, snarling trumpets 'gan to chide,"

he is simply, in his own art and with his proper methods, getting precisely the same kind of effect; he is incarnating the soul of a fact.

And so Mantegna, with his Roman kindness for whatever had breath and vigour and boldness of design, carved his _Judith_ on the lines of a Vestal Virgin, and gave her the rapt, daemonic features of the Tragic Muse.

And, with his full share of that unhealthy craving for the mere nastiness of crime, that Aminatrait which distinguished the later Empire and its correlate the Renaissance, he drew together the elements of his picture to express an eminently characteristic conception of curious murder. What amplitude of outline; what severe grace of drapery! And what mad affectation of attention to the ghastly baggage she is preparing for her flight! I can only instance for a parallel the pitiful case of the young Ophelia, decked with flowers and weeds, and faltering in her pretty treble songs about lechery and dead bodies. It needs strong men to do these things; men who have lived out all that the world can offer them of heaven and h.e.l.l, and, with the tolerance of maturity, are in the mind to see something worth a thought in either. There is in murder something more horrible than blood,--the spirit that breeds blood and plays with it. M.

Jan van Beers and his kindred of the dissecting-room and accidents'-ward are pa.s.sed by Mantegna, who gives no vulgar illusion of gaping wounds and jetting blood; but, instead, holds up to us a beautiful woman daintily fingering a corpse.

VII

QUATTROCENTISTERIA

_(How Sandro Botticelli saw Simonetta in the Spring)_

Up at Fiesole, among the olives and chestnuts which cloud the steeps, the magnificent Lorenzo was entertaining his guests on a morning in April. The olives were just whitening to silver; they stretched in a trembling sea down the slope. Beyond lay Florence, misty and golden; and round about were the mossy hills, cut sharp and definite against a grey-blue sky, printed with starry buildings and sober ranks of cypress. The sun catching the mosaics of San Miniato and the brazen cross on the f.a.gade, made them shine like sword-blades in the quiver of the heat between. For the valley was just a lake of hot air, hot and murky--"fever weather," said the people in the streets--with a glaring summer sun let in between two long spells of fog. 'Twas unnatural at that season, _via_; but the blessed Saints sent the weather and one could only be careful what one was about at sundown.

Up at the villa, with brisk morning airs rustling overhead, in the cool shades of trees and lawns, it was pleasant to lie still, watching these things, while a silky young exquisite sang to his lute a not too audacious ballad about Selvaggia, or Becchina and the saucy Prior of Sant' Onofrio.

He sang well too, that dark-eyed boy; the girl at whose feet he was crouched was laughing and blushing at once; and, being very fair, she blushed hotly. She dared not raise her eyes to look into his, and he knew it and was quietly measuring his strength--it was quite a comedy! At each wanton _refrain_ he lowered his voice to a whisper and bent a little forward. And the girl's laughter became hysterical; she was shaking with the effort to control herself. At last she looked up with a sort of sob in her breath and saw his mocking smile and the gleam of the wild beast in his eyes. She grew white, rose hastily and turned away to join a group of ladies sitting apart. A man with a heavy, rather sullen face and a bush of yellow hair falling over his forehead in a wave, was standing aside watching all this. He folded his arms and scowled under his big brows; and when the girl moved away his eyes followed her.

The lad ended his song in a broad sarcasm amid bursts of laughter and applause. The Magnificent, sitting in his carved chair, nursed his sallow face and smiled approval, "My brother boasts his invulnerability," he said, turning to his neighbour, "let him look to it, Messer Cupido will have him yet. Already, we can see, he has been let into some of the secrets of the bower," The man bowed and smiled deferentially, "Signer Giuliano has all the qualities to win the love of ladies, and to retain it. Doubtless he awaits his destiny. The Wise Man has said that Beauty..."

The young poet enlarged on his text with some fire in his thin cheeks, while the company kept very silent. It was much to their liking; even Giuliano was absorbed; he sat on the ground clasping one knee between his hands, smiling upwards into vacancy, as a man does whose imagination is touched. Lorenzo nursed his sallow face and beat time to the orator's cadences with his foot; he, too, was abstracted and smiling. At the end he spoke: "Our Marsilio himself had never said n.o.bler words, my Agnolo. The mantle of the Attic prophet has descended indeed upon this Florence. And Beauty, as thon sayest, is from heaven. But where shall it be found here below, and how discerned?" The man of the heavy jowl was standing with folded arms, looking from under his brows at the group of girls. Lorenzo saw everything; he noticed him. "Our Sandro will tell us it is yonder. The Star of Genoa shines over Florence and our poor little constellations are gone out. _Ecco_, my Sandro, gravest and hardiest of painters, go summon Madonna Simonetta and her handmaidens to our Symposium. Agnolo will speak further to us of this sovereignty of Beauty."

The painter bowed his head and moved away.

A green alley vaulted with thick ilex and myrtle formed a tapering vista where the shadows lay misty blue and pale shafts of light pierced through fitfully. At the far end it ran out into an open s.p.a.ce and a splash of sunshine. A marble Ganymede with lifted arms rose in the middle like a white flame. The girls were there, intent upon some commerce of their own, flashing hither and thither over the gra.s.s in a flutter of saffron and green and crimson. Simonetta--Sandro could see--was a little apart, a very tall, isolated figure, clear and cold in a recess of shade, standing easily, resting on one hip with her hands behind her. A soft, straight robe of white clipped her close from shoulder to heel; the lines of her figure were thrust forward by her poise. His eye followed the swell of her bosom, very gentle and girlish, and the long folds of her dress falling thence to her knee. While she stood there, proud and remote, a chance beam of the sun shone on her head so that it seemed to burn. "Heaven salutes the Queen of Heaven,--Venus Urania!" With an odd impulse he stopped, crossed himself, and then hurried on.

He told his errand to her, having no eyes for the others.

"Signorina--I am to acquaint her Serenity that the divine poet Messer Agnolo is to speak of the sovereign power of beauty; of the Heavenly Beauty whereof Plato taught, as it is believed."

Simonetta arched a slim neck and looked down at the obsequious speaker, or at least he thought so. And he saw how fair she was, a creature how delicate and gracious, with grey eyes frank and wide, and full red lips where a smile (nervous and a little wistful, he judged, rather than defiant) seemed always to hover. Such clear-cut, high beauty made him ashamed; but her colouring (for he was a painter) made his heart beat. She was no ice-bound shadow of deity then! but flesh and blood; a girl--a child, of timid, soft contours, of warm roses and blue veins laced in a pearly skin. And she was crowned with a heavy wealth of red-gold hair, twisted in great coils, bound about with pearls, and smouldering like molten metal where it fell rippling along her neck. She dazzled him, so that he could not face her or look further. His eyes dropped. He stood before her moody, disconcerted.

The girls, who had dissolved their company at his approach, listened to what he had to say linked in knots of twos and threes. They needed no excuses to return; some were philosophers in their way, philosophers and poetesses; some had left their lovers in the ring round Lorenzo. So they went down the green alley still locked by the arms, by the waist or shoulders. They did not wait for Simonetta. She was a Genoese, and proud as the snow. Why did Giuliano love her? _Did_ he love her, indeed? He was bewitched then, for she was cold, and a brazen creature in spite of it. How dare she bare her neck so! Oh! 'twas Genoese. "Uomini senza fede e donne senza vergogna," they quoted as they ran.

And Simonetta walked alone down the way with her head high; but Sandro stepped behind, at the edge of her trailing white robe....

... The poet was leaning against an ancient alabaster vase, soil-stained, yellow with age and its long sojourn in the loam, but with traces of its carved garlands clinging to it still. He fingered it lovingly as he talked. His oration was concluding, and his voice rose high and tremulous; there were sparks in his hollow eyes.... "And as this sovereign Beauty is queen of herself, so she is subject to none other, owns to no constraining custom, fears no reproach of man. What she wills, that has the force of a law. Being Beauty, her deeds are lovely and worshipful. Therefore Phryne, whom men, groping in darkness and the dull ways of earth, dubbed courtesan, shone in a Court of Law before the a.s.sembled n.o.bles of Athens, naked and undismayed in the blaze of her fairness. And Athens discerned the G.o.ddess and trembled. Yes, and more; even as Aphrodite, whose darling she was, arose pure from the foam, so she too came up out of the sea in the presence of a host, and the Athenians, seeing no shame, thought none, but, rather, reverenced her the more. For what shame is it that the body of one so radiant in clear perfections should be revealed? Is then the garment of the soul, her very mould and image, so shameful? Shall we seek to know her essence by the garment of a garment, or hope to behold that which really is in the shadows we cast upon shadows? Shame is of the brute dullard who thinks shame. The evil ever sees Evil glaring at him, Plato, the golden-moutheds with the soul of pure fire, has said the truth of this matter in his _De Republica_ the fifth book, where he speaks of young maids sharing the exercise of the Palaestra, yea, and the Olympic contests even! For he says, 'Let the wives of our wardens bare themselves, for their virtue will be a robe; and let them share the toils of war and defend their country. And for the man who laughs at naked women exercising their bodies for high reasons, his laughter is a fruit of unripe wisdom, and he himself knows not what he is about; for that is ever the best of sayings that the useful is the n.o.ble and the hurtful the base'...."

There was a pause. The name of Plato had had a strange effect upon the company. You would have said they had suddenly entered a church and had felt all lighter interests sink under the weight of the dim, echoing nave.

After a few moments the poet spoke again in a quieter tone, but his voice had lost none of the unction which had enriched it.... "Beauty is queen: by the virtue of Deity, whose image she is, she reigns, lifts up, fires.

Let us beware how we tempt Deity lest we perish ourselves. Actseon died when he gazed unbidden upon the pure body of Artemis; but Artemis herself rayed her splendour upon Endymion, and Endymion is among the immortals. We fall when we rashly confront Beauty, but that Beauty who comes unawares may nerve our souls to wing to heaven." He ended on a resonant note, and then, still looking out over the valley, sank into his seat. Lorenzo, with a fine humility, got up and kissed his thin hand. Giuliano looked at Simonetta, trying to recall her gaze, but she remained standing in her place, seeing nothing of her companions. She was thinking of something, frowning a little and biting her lip, her hands were before her; her slim fingers twisted and locked themselves nervously, like a tangle of snakes.

Then she tossed her head, as a young horse might, and looked at Giuliano suddenly, full in the eyes. He rose to meet her with a deprecating smile, cap in hand--but she walked past him, almost brushing him with her gown, but never flinching her full gaze, threaded her way through the group to the back, behind the poet, where Sandro was. He had seen her coming, indeed he had watched her furtively throughout the oration, but her near presence disconcerted him again--and he looked down. She was strongly excited with her quick resolution; her colour had risen and her voice faltered when she began to speak. She spoke eagerly, running her words together.

"_Ecco_, Messer Sandro," she whispered blushing. "You have heard these sayings.... Who is there in Florence like me?"

"There is no one," said Sandro simply.

"I will be your Lady Venus," she went on breathlessly. "You shall paint me, rising from the sea-foam.... The Genoese love the sea." She was still eager and defiant; her bosom rose and fell unchecked.

"The Signorina is mocking me; it is impossible; the Signorina knows it."

"Eh, _Madonna!_ is it so shameful to be fair--Star of the Sea as your poets sing at evening? Do you mean that I dare not do it? Listen then, Signer Pittore; to-morrow morning at ma.s.s-time you will come to the Villa Vespucci with your brushes and pans and you will ask for Monna Simonetta.

Then you will see. Leave it now; it is settled." And she walked away with her head high and the same superb smile on her red lips. Mockery! She was in dead earnest; all her child's feelings were in hot revolt. These women who had whispered to each other, sn.i.g.g.e.red at her dress, her white neck and her free carriage; Giuliano who had presumed so upon her candour-- these prying, censorious Florentines---she would strike them dumb with her amazing loveliness. They sang her a G.o.ddess that she might be flattered and suffer their company: she would show herself a G.o.ddess indeed--the star of her shining Genoa, where men were brave and silent and maidens frank like the sea. Yes, and then she would withdraw herself suddenly and leave them forlorn and dismayed.

As for Sandro, he stood where she had left him, peering after her with a mist in his eyes. He seemed to be looking over the hill-side, over the city glowing afar off gold and purple in the hot air, to Mont' Oliveto and the heights, where a line of black cypresses stood about a low white building. At one angle of the building was a little turret with a belvedere of round arches. The tallest cypress just topped the windows, There his eyes seemed to rest.

II

At ma.s.s-time Sandro, folded in his shabby green cloak, stepped into the sun on the Ponte Vecchio. The morning mists were rolling back under the heat; you began to see the yellow line of houses stretching along the turbid river on the far side, and frowning down upon it with blank, mud- stained faces. Above, through streaming air, the sky showed faintly blue, and a _campanile_ to the right loomed pale and uncertain like a ghost. The sound of innumerable bells floated over the still city. Hardly a soul was abroad; here and there a couple of dusty peasants were trudging in with baskets of eggs and jars of milk and oil; a boat pa.s.sed down to the fishing, and the oar knocked sleepily in the rowlock as she cleared the bridge. And above, on the heights of Mont' Oliveto, the tapering forms of cypresses were faintly outlined--straight bars of shadow--and the level ridge of a roof ran lightly back into the soft shroud.

Sandro could mark these things as he stepped resolutely on to the bridge, crossed it, and went up a narrow street among the sleeping houses. The day held golden promise; it was the day of his life! Meantime the mist clung to him and nipped him; what had fate in store? What was to be the issue?

In the Piazza Santo Spirito, grey and hollow-sounding in the chilly silences, his own footsteps echoed solemnly as he pa.s.sed by the door of the great ragged church. Through the heavy darkness within lights flickered faintly and went; service was not begun. A drab crew of cripples lounged on the steps yawning and shivering, and two country girls were strolling to ma.s.s with brown arms round each other's waists. When Sandro's footfall clattered on the stones they stopped by the door looking after him and laughed to see his dull face and m.u.f.fled figure. In the street beyond he heard a bell jingling, hasty, incessant; soon a white-robed procession swept by him, fluttering vestments, tapers, and the Host under a canopy, silk and gold. Sandro s.n.a.t.c.hed at his cap and dropped on his knees in the road, crouching low and muttering under his breath as the vision went past. He remained kneeling for a moment after it had gone, then crossed himself--forehead, breast, lip--and hurried forward.... He stepped under the archway into the Court. There was a youth with a cropped head and swarthy neck lounging there teasing a spaniel. As the steps sounded on the flags he looked up; the old green cloak and clumsy shoes of the visitor did not interest him; he turned his back and went on with his game. Sandro accosted him--Was the Signorina at the house? The boy went on with his game. "Eh, Diavolo! I know nothing at all," he said.

Sandro raised his voice till it rang round the courtyard. "You will go at once and inquire. You will say to the Signorina that Sandro di Mariano Filipepi the Florentine painter is here by her orders; that he waits her pleasure below."

The boy had got up; he and Sandro eyed each other for a little s.p.a.ce.

Sandro was the taller and had the glance of a hawk. So the porter went....

... Presently with throbbing brows he stood on the threshold of Simonetta's chamber. It was the turret room of the villa and its four arched windows looked through a leafy tracery over towards Florence.

Sandro could see down below him in the haze the glitter of the Arno and the dusky dome of Brunelleschi cleave the sward of the hills like a great burnished bowl. In the room itself there was tapestry, the Clemency of Scipio, with courtiers in golden cuira.s.ses and tall plumes, and peac.o.c.ks and huge Flemish horses--a rich profusion of crimson and blue drapery and stout-limbed soldiery. On a bracket, above a green silk curtain, was a silver statuette of Madonna and the Bambino Gesu, with a red lamp flickering feebly before. By the windows a low divan heaped with velvet cushions and skins. But for a coffer and a prayer-desk and a curtained recess which enshrined Simonetta's bed, the room looked wind-swept and bare.

When he entered, Simonetta was standing by the window leaning her hand against the ledge for support. She was draped from top to toe in a rose- coloured mantle which shrouded her head like a nun's wimple and then fell in heavy folds to the ground. She flushed as he came in, but saluted him with a grave inclination. Neither spoke. The silent greeting, the full consciousness in each of their parts, gave a curious religious solemnity to the scene--like some familiar but stately Church mystery. Sandro busied himself mechanically with his preparations-he was a lover and his pulse chaotic, but he had come to paint--and when these were done, on tip-toe, as it were, he looked timidly about him round the room, seeking where to pose her. Then he motioned her with the same reverential, preoccupied air, silent still, to a place under the silver Madonna....

... There was a momentary quiver of withdrawal. Simonetta blushed vividly and drooped her eyes down to her little bare foot peeping out below the lines of the rosy cloak. The cloak's warmth shone on her smooth skin and rayed over her cheeks. In her flowery loveliness she looked diaphanous, ethereal; and yet you could see what a child she was, with her bright audacity, her ardour and her wilfulness flushing and paling about her like the dawn. There she stood trembling on the brink....

Suddenly all her waywardness shot into her eyes; she lifted her arms and the cloak fell back like the shard of a young flower; then, delicate and palpitating as a silver reed, she stood up in the soft light of the morning, and the sun, slanting in between the golden leaves and tendrils, kissed her neck and shrinking shoulder.

Sandro stood facing her, moody and troubled, fingering his brushes and bits of charcoal; his s.h.a.ggy brows were knit, he seemed to be breathing hard. He collected himself with an effort and looked up at her as she stood before him shrinking, awe-struck, panting at the thing she had done.

Their eyes met, and the girl's distress increased; she raised her hand to cover her bosom; her breath came in short gasps from parted lips, but her wide eyes still looked fixedly into his, with such blank panic that a sudden movement might really have killed her. He saw it all; she! there at his mercy. Tears swam and he trembled. Ah! the gracious lady! what divine condescension! what ineffable courtesy! But the artist in him was awakened almost at the same moment; his looks wandered in spite of her piteous candour and his own nothingness. Sandro the poet would have fallen on his face with an "Exi a me, nam peccator sum." Sandro the painter was different--no mercy there. He made a s.n.a.t.c.h at a carbon and raised his other hand with a kind of command--"Holy Virgin! what a line! Stay as you are, I implore you: swerve not one hair's breadth and I have you for ever!" There was conquest in his voice.

So Simonetta stood very still, hiding her bosom with her hand, but never took her watch off the enemy. As he ran blindly about doing a hundred urgent indispensable things--noting the lights, the line she made, how her arm cut across the folds of the curtain--she dogged him with staring, fascinated eyes, just as a hare, crouching in her form, watches a terrier hunting round her and waits for the end.

But the enemy was disarmed. Sandro the pa.s.sionate, the lover, the brooding devotee, was gone; so was _la bella Simonetta_ the beloved, the be- hymned. Instead, here was a fretful painter, dashing lines and broad smudges of shade on his paper, while before him rose an exquisite, slender, swaying form, glistening carnation and silver, and, over all, the maddening glow of red-gold hair. Could he but catch those velvet shadows, those delicate, glossy, reflected-lights! Body of Bacchus! How could he put them in! What a picture she was! Look at the sun on her shoulder! and her hair--Christ! how it burned! It was a curious moment. The girl who had never understood or cared to understand this humble lover, guessed now that he was lost in the artist. She felt that she was simply an effect and she resented it as a crowning insult. Her colour rose again, her red lips gathered into a pout. If Sandro had but known, she was his at that instant. He had but to drop the painter, throw down his brushes, set his heart and hot eyes bare--to open his arms and she would have fled into them and nestled there; so fierce was her instinct just then to be loved, she, who had always been loved! But Sandro knew nothing and cared nothing.

He was absorbed in the gracious lines of her body, the lithe long neck, the drooping shoulder, the tenderness of her youth; and then the grand open curve of the hip and thigh on which she was poised. He drew them in with a free hand in great sweeping lines, eagerly, almost angrily; once or twice he broke his carbon and--body of a dog!--he s.n.a.t.c.hed at another.

This lasted a few minutes only: even Simonetta, with all her maiden tremors still feverishly acute, hardly noticed the flight of time; she was so hot with the feeling of her wrongs, the slight upon her victorious fairness. Did she not _know_ how fair she was? She was getting very angry; she had been made a fool of. All Florence would come and gape at the picture and mock her in the streets with bad names and coa.r.s.e gestures as she rode by. She looked at Sandro. Santa Maria! how hot he was! His hair was drooping over his eyes! He tossed it back every second! And his mouth was open, one could see his tongue working! Why had she not noticed that great mouth before? 'Twas the biggest in all Florence. O! why had he come? She was frightened, remorseful, a child again, with a trembling pathetic mouth and shrinking limbs. And then her heart began to beat under her slim fingers. She pressed them down into her flesh to stay those great masterful throbs. A tear gathered in her eye; larger and larger it grew, and then fell. A shining drop rested on the round of her cheek and rolled slowly down her chin to her protecting hand, and lay there half hidden, shining like a rain-drop between two curving petals of a rose.

It was just at that moment the painter looked up from his work and shook his bush of hair back. Something in his sketch had displeased him; he looked up frowning, with a brush between his teeth. When he saw the tear- stained, distressful, beautiful face it had a strange effect upon him. He dropped nerveless, like a wounded man, to his knees, and covered his eyes with his hands. "Ah Madonna! for the pity of heaven forgive me! forgive me! I have sinned, I have done thee fearful wrong; I, who still dare to love thee." He uncovered his face and looked up radiant: his own words had inspired him, "Yes," he went on, with a steadfast smile, "I, Sandro, the painter, the poor devil of a painter, have seen thee and I dare to love!"

His triumph was short-lived. Simonetta had grown deadly white, her eyes burned, she had forgotten herself. She was tall and slender as a lily, and she rose, shaking, to her height.

"Thou presumest strangely," she said, in a slow still voice, "Go! Go in peace!"

She was conqueror. In her calm scorn she was like a young immortal, some cold victorious Cynthia whose chast.i.ty had been flouted. Sandro was pale too: he said nothing and did not look at her again. She stood quivering with excitement, watching him with the same intent alertness as he rolled up his paper and crammed his brushes and pencils into the breast of his jacket. She watched him still as he backed out of the room and disappeared through the curtains of the archway. She listened to his footsteps along the corridor, down the stair. She was alone in the silence of the sunny room. Her first thought was for her cloak; she s.n.a.t.c.hed it up and veiled herself shivering as she looked fearfully round the walls. And then she flung herself on the piled cushions before the window and sobbed piteously, like an abandoned child.