'Spite of the dusk, the plain had given place All round to mountains with such name to grace
Mere ugly heights and heaps now stolen in view.
How thus they had surprised me, you!
- solve it, How to get from them was no clearer case.
Yet half I seemed to recognise some trick 169 Of mischief happened to me, God knows when
In a bad dream perhaps. Here ended, then, Progress this way. When, in the very nick Of giving up, one time more, came a click 173 As when a trap shuts - you're inside the den!
Burningly it came on me all at once,
This was the place! those two hills on the right,
Crouched like two bulls locked horn in horn in fight;
While to the left, a tall scalped mountain . . . Dunce,
Dotard, a-dozing at the very nonce,2
After a life spent training for the sight! 180
1 provided with dragon feathers; cf. p. 240 2 critical moment
I am poor brother Lippo, by your leave! You need not clap your torches to my face. Zooks,1 what's to blame? you think you see a monk!
What, 'tis past midnight, and you go the rounds,
And here you catch me at an alley's end Where sportive ladies leave their doors ajar? The Carmine's my cloister: hunt it up, Do, harry out, if you must show your zeal, Whatever rat, there, haps on his wrong hole, And nip each soft ling of a wee white mouse, 10 Weke, weke, that's crept to keep him company! Aha, you know your betters! Then, you'll take
Your hand away that's fiddling on my throat, And please to know me likewise. Who am I? Why, one, sir, who is lodging with a friend Three streets off he's a certain . . . how d'ye call? Master a... . . . Cosimo of the Medici,1 I' the house that caps the corner. were best! Remember and tell me, the day you're hanged, How you affected such a gullet's-gripe! But you, sir,2 it concerns you that your knaves Pick up a manner nor discredit you:
Zooks, are we pilchards, that they sweep the
And count fair prize what comes into their net?
He's Judas to a tittle, that man is !
Just such a face! Why, sir, you make amends. Lord, I'm not angry! Bid your hangdogs go Drink out this quarter-florin to the health Of the munificent House that harbours me (And many more beside, lads! more beside!) And all's come square again. I'd like his face- His, elbowing on his comrade in the door With the pike and lantern, for the slave that holds
To get to bed and have a bit of sleep Ere I rise up to-morrow and go work On Jerome knocking at his poor old breast With his great round stone to subdue the flesh,
You snap me of the sudden. Ah, I see! Though your eye twinkles still, you shake your head Mine's shaved
If Master Cosimo announced himself, Mum's the word naturally; but a monk! Come, what am I a beast for? tell us, now! 80 I was a baby when my mother died And father died and left me in the street. I starved there, God knows how, a year or two On fig-skins, melon-parings, rinds and shucks. Refuse and rubbish. One fine frosty day, My stomach being empty as your hat, The wind doubled me up and down I went. Old Aunt Lapaccia trussed me with one hand, (Its fellow was a stinger as I knew) And so along the wall, over the bridge, By the straight cut to the convent. Six words there,
While I stood munching my first bread that
1i.e., they sang in turn the famous church of San Lorenzo 3 an ascetic, and one of the four greatest church fathers seized
And made a string of pictures of the world Betwixt the ins and outs of verb and noun, On the wall, the bench, the door. The monks looked black.
"Nay," quoth the Prior, "turn him out, d'ye say?
In no wise. Lose a crow and catch a lark. What if at last we get our man of parts, We Carmelites, like those Camaldolese1 And Preaching Friars, to do our church up fine And put the front on it that ought to be!" And hereupon he bade me daub away. Thank you! my head being crammed, the walls a blank,
Never was such prompt disemburdening. First, every sort of monk, the black and white, I drew them, fat and lean: then, folk at church,
From good old gossips waiting to confess Their cribs of barrel-droppings, candleends,
To the breathless fellow at the altar-foot, Fresh from his murder, safe and sitting there With the little children round him in a row 151 Of admiration, half for his beard and half For that white anger of his victim's son Shaking a fist at him with one fierce arm, Signing himself with the other because of Christ
(Whose sad face on the cross sees only this After the passion of a thousand years) Till some poor girl, her apron o'er her head, (Which the intense eyes looked through)
On tiptoe, said a word, dropped in a loaf, Her pair of earrings and a bunch of flowers (The brute took growling), prayed, and so was gone.
I painted all, then cried ""Tis ask and have; Choose, for more's ready!" - laid the ladder flat,
And showed my covered bit of cloister-wall. The monks closed in a circle and praised loud Till checked, taught what to see and not to see, Being simple bodies, "That's the very
The Prior and the learned pulled a face And stopped all that in no time. "How? what's here?
Quite from the mark of painting, bless us all! Faces, arms, legs, and bodies like the true As much as pea and pea! it's devil's-game! Your business is not to catch men with show, With homage to the perishable clay, But lift them over it, ignore it all, Make them forget there's such a thing as flesh. Your business is to paint the souls of men Man's soul, and it's a fire, smoke . . . no, it's
It's vapour done up like (In that shape when you die it leaves your a new-born babe - mouth)
It's . . . well, what matters talking, it's the soul!
Give us no more of body than shows soul ! Here's Giotto,' with his Saint a-praising
God, That sets us praising,
him? Why put all thoughts of praise out of our head With wonder at lines, colours, and what not? Paint the soul, never mind the legs and arms! Rub all out, try at it a second time.
Oh, that white smallish female with the breasts,
Who went and danced and got men's heads cut off!
Have it all out !" Now, is this sense, I ask? A fine way to paint soul, by painting body So ill, the eye can't stop there, must go further And can't fare worse! Thus, yellow does for white
When what you put for yellow's simply black, And any sort of meaning looks intense When all beside itself means and looks naught. Why can't a painter lift each foot in turn, Left foot and right foot, go a double step, Make his flesh liker and his soul more like, Both in their order? Take the prettiest face, The Prior's niece . . . patron-saint - is it so
You can't discover if it means hope, fear, Sorrow or joy? won't beauty go with these? Suppose I've made her eyes all right and blue, Can't I take breath and try to add life's flash,
1 the first great Italian painter (1276?-1337) 2 The Prior's memory is at fault, cf. Matt. xiv: 6.
Are peeping o'er my shoulder as I work, The heads shake still-"It's art's decline, my son !
You're not of the true painters, great and old: Brother Angelico's the man, you'll find; Brother Lorenzo 2 stands his single peer: Fag on at flesh, you'll never make the third!" Flower o' the pine, You keep your mistr
manners, and I'll I'm not the third, then: bless us, they must know!
Don't you think they're the likeliest to know, They with their Latin? So, I swallow my
Clench my teeth, suck my lips in tight, and
To please them
times don't;
For, doing most, there's pretty sure to come A turn, some warm eve finds me at my
A laugh, a cry, the business of the world- (Flower o' the peach,
Death for us all, and his own life for each!) And my whole soul revolves, the cup runs over, The world and life's too big to pass for a dream,
1 Giovanni da Fiesole, called Fra Angelico from his fondness for painting angels 2 Lorenzo Monaco, of Sienna
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