Or say there's beauty with no soul at all-- 215 (I never saw it--put the case the same--) If you get simple beauty and naught else, You get about the best thing G.o.d invents: That's somewhat: and you'll find the soul you have missed, Within yourself, when you return Him thanks. 220 "Rub all out!" Well, well, there's my life, in short, And so the thing has gone on ever since.

I'm grown a man no doubt; I've broken bounds: You should not take a fellow eight years old And make him swear to never kiss the girls. 225 I'm my own master, paint now as I please-- Having a friend, you see, in the Corner-house!

Lord, it's fast holding by the rings in front-- Those great rings serve more purposes than just To plant a flag in, or tie up a horse! 230 And yet the old schooling sticks, the old grave eyes 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; 235 Brother Lorenzo stands his single peer: f.a.g on at flesh, you'll never make the third!"

_Flower o' the pine,_ _You keep your mist ... manners, and I'll stick to mine!_ I'm not the third, then: bless us, they must know! 240 Don't you think they're the likeliest to know, They with their Latin? So, I swallow my rage, Clench my teeth, suck my lips in tight, and paint To please them--sometimes do and sometimes don't; For, doing most, there's pretty sure to come 245 A turn, some warm eve finds me at my saints-- 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, 250 The world and life's too big to pa.s.s for a dream, And I do these wild things in sheer despite, And play the fooleries you catch me at, In pure rage! The old mill-horse, out at gra.s.s After hard years, throws up his stiff heels so, 255 Although the miller does not preach to him The only good of gra.s.s is to make chaff.

What would men have? Do they like gra.s.s or no-- May they or mayn't they? All I want's the thing Settled forever one way. As it is, 260 You tell too many lies and hurt yourself: You don't like what you only like too much, You do like what, if given you at your word, You find abundantly detestable.

For me, I think I speak as I was taught; 265 I always see the garden and G.o.d there A-making man's wife: and, my lesson learned, The value and significance of flesh, I can't unlearn ten minutes afterwards.

You understand me: I'm a beast, I know. 270 But see, now--why, I see as certainly As that the morning-star's about to shine, What will hap some day. We've a youngster here Comes to our convent, studies what I do, Slouches and stares and lets no atom drop: 275 His name is Guidi--he'll not mind the monks-- They call him Hulking Tom, he lets them talk-- He picks my practice up--he'll paint apace.

I hope so--though I never live so long, I know what's sure to follow. You be judge! 280 You speak no Latin more than I, belike; However, you're my man, you've seen the world --The beauty and the wonder and the power, The shapes of things, their colors, lights, and shades Changes, surprises--and G.o.d made it all! 285 --For what? Do you feel thankful, aye or no, For this fair town's face, yonder river's line, The mountain round it and the sky above, Much more the figures of man, woman, child, These are the frame to? What's it all about? 290 To be pa.s.sed over, despised? or dwelt upon, Wondered at? oh, this last of course!--you say.

But why not do as well as say--paint these Just as they are, careless what comes of it?

G.o.d's works--paint any one, and count it crime 295 To let a truth slip. Don't object, "His works Are here already; nature is complete: Suppose you reproduce her--(which you can't) There's no advantage! you must beat her, then."

For, don't you mark? we're made so that we love 300 First when we see them painted, things we have pa.s.sed Perhaps a hundred times nor cared to see; And so they are better, painted--better to us, Which is the same thing. Art was given for that; G.o.d uses us to help each other so, 305 Lending our minds out. Have you noticed, now, Your cullion's hanging face? A bit of chalk, And trust me but you should, though! How much more, If I drew higher things with the same truth!

That were to take the Prior's pulpit-place, 310 Interpret G.o.d to all of you! Oh, oh, It makes me mad to see what men shall do And we in our graves! This world's no blot for us, Nor blank; it means intensely, and means good: To find its meaning is my meat and drink. 315 "Aye, but you don't so instigate to prayer!"

Strikes in the Prior: "when your meaning's plain It does not say to folk--remember matins, Or, mind you fast next Friday!" Why, for this What need of art at all? A skull and bones, 320 Two bits of stick nailed crosswise, or, what's best, A bell to chime the hour with, does as well.

I painted a Saint Laurence six months since At Prato, splashed the fresco in fine style: "How looks my painting, now the scaffold's down?" 325 I ask a brother: "Hugely," he returns-- "Already not one phiz of your three slaves Who turn the Deacon off his toasted side, But's scratched and prodded to our heart's content, The pious people have so eased their own 330 With coming to say prayers there in a rage: We get on fast to see the bricks beneath.

Expect another job this time next year, For pity and religion grow i' the crowd-- Your painting serves its purpose!" Hang the fools! 335

--That is--you'll not mistake an idle word Spoke in a huff by a poor monk, G.o.d wot, Tasting the air this spicy night which turns The unaccustomed head like Chianti wine!

Oh, the church knows! don't misreport me, now! 340 It's natural a poor monk out of bounds Should have his apt word to excuse himself: And hearken how I plot to make amends.

I have bethought me: I shall paint a piece ... There's for you! Give me six months, then go, see 345 Something in Sant' Ambrogio's! Bless the nuns!

They want a cast o' my office. I shall paint G.o.d in the midst, Madonna and her babe, Ringed by a bowery, flowery angel-brood, Lilies and vestments and white faces, sweet 350 As puff on puff of grated orris-root When ladies crowd to Church at midsummer.

And then i' the front, of course a saint or two-- Saint John, because he saves the Florentines, Saint Ambrose, who puts down in black and white 355 The convent's friends and gives them a long day, And Job, I must have him there past mistake, The man of Uz (and Us without the z, Painters who need his patience). Well, all these Secured at their devotion, up shall come 360 Out of a corner when you least expect, As one by a dark stair into a great light, Music and talking, who but Lippo! I!-- Mazed, motionless, and moonstruck--I'm the man!

Back I shrink--what is this I see and hear? 365 I, caught up with my monk's-things by mistake, My old serge gown and rope that goes all round, I, in this presence, this pure company!

Where's a hole, where's a corner for escape?

Then steps a sweet angelic slip of a thing 370 Forward, puts out a soft palm--"Not so fast!"

--Addresses the celestial presence, "nay-- He made you and devised you, after all, Though he's none of you! Could Saint John there draw-- His camel-hair make up a painting-brush? 375 We come to brother Lippo for all that, _Iste perfecit opus!_" So, all smile-- I shuffle sideways with my blushing face Under the cover of a hundred wings Thrown like a spread of kirtles when you're gay 380 And play hot c.o.c.kles, all the doors being shut, Till, wholly unexpected, in there pops The hothead husband! Thus I scuttle off To some safe bench behind, not letting go The palm of her, the little lily thing 385 That spoke the good word for me in the nick, Like the Prior's niece ... Saint Lucy, I would say.

And so all's saved for me, and for the church A pretty picture gained. Go, six months hence!

Your hand, sir, and good-by: no lights, no lights! 390 The street's hushed, and I know my own way back, Don't fear me! There's the gray beginning. Zooks!

ANDREA DEL SARTO

CALLED "THE FAULTLESS PAINTER"

But do not let us quarrel any more.

No, my Lucrezia; bear with me for once: Sit down and all shall happen as you wish.

You turn your face, but does it bring your heart?

I'll work then for your friend's friend, never fear, 5 Treat his own subject after his own way, Fix his own time, accept too his own price, And shut the money into this small hand When next it takes mine. Will it? tenderly?

Oh, I'll content him--but tomorrow, Love! 10 I often am much wearier than you think, This evening more than usual, and it seems As if--forgive now--should you let me sit Here by the window with your hand in mine And look a half-hour forth on Fiesole, 15 Both of one mind, as married people use, Quietly, quietly the evening through, I might get up tomorrow to my work Cheerful and fresh as ever. Let us try.

Tomorrow, how you shall be glad for this! 20 Your soft hand is a woman of itself, And mine the man's bared breast she curls inside.

Don't count the time lost, neither; you must serve For each of the five pictures we require: It saves a model. So! keep looking so-- 25 My serpentining beauty, rounds on rounds!

--How could you ever p.r.i.c.k those perfect ears, Even to put the pearl there! oh, so sweet-- My face, my moon, my everybody's moon, Which everybody looks on and calls his, 30 And, I suppose, is looked on by in turn, While she looks--no one's: very dear, no less.

You smile? why, there's my picture ready made, There's what we painters call our harmony!

A common grayness silvers everything-- 35 All in a twilight, you and I alike --You, at the point of your first pride in me (That's gone you know)--but I, at every point; My youth, my hope, my art, being all toned down To yonder sober, pleasant Fiesole. 40 There's the bell clinking from the chapel-top; That length of convent-wall across the way Holds the trees safer, huddled more inside; The last monk leaves the garden; days decrease, And autumn grows, autumn in everything. 45 Eh? the whole seems to fall into a shape As if I saw alike my work and self And all that I was born to be and do, A twilight-piece. Love, we are in G.o.d's hand.

How strange now looks the life He makes us lead; 50 So free we seem, so fettered fast we are!

I feel He laid the fetter: let it lie!

This chamber for example--turn your head-- All that's behind us! You don't understand Nor care to understand about my art, 55 But you can hear at least when people speak: And that cartoon, the second from the door --It is the thing, Love! so such thing should be-- Behold Madonna!--I am bold to say.

I can do with my pencil what I know, 60 What I see, what at bottom of my heart I wish for, if I ever wish so deep-- Do easily, too--when I say, perfectly, I do not boast, perhaps: yourself are judge, Who listened to the Legate's talk last week, 65 And just as much they used to say in France.

At any rate 'tis easy, all of it!

No sketches first, no studies, that's long past: I do what many dream of, all their lives, --Dream? strive to do, and agonize to do, 70 And fail in doing. I could count twenty such On twice your fingers, and not leave this town, Who strive--you don't know how the others strive To paint a little thing like that you smeared Carelessly pa.s.sing with your robes afloat-- 75 Yet do much less, so much less, Someone says, (I know his name, no matter)--so much less!

Well, less is more, Lucrezia: I am judged.

There burns a truer light of G.o.d in them, In their vexed beating stuffed and stopped-up brain, 80 Heart, or whate'er else, than goes on to prompt This low-pulsed forthright craftsman's hand of mine.

Their works drop groundward, but themselves, I know, Reach many a time a heaven that's shut to me, Enter and take their place there sure enough, 85 Though they come back and cannot tell the world.

My works are nearer heaven, but I sit here.

The sudden blood of these men! at a word-- Praise them, it boils, or blame them, it boils too.

I, painting from myself and to myself, 90 Know what I do, am unmoved by men's blame Or their praise either. Somebody remarks Morello's outline there is wrongly traced, His hue mistaken; what of that? or else, Rightly traced and well ordered; what of that? 95 Speak as they please, what does the mountain care?

Ah, but a man's reach should exceed his grasp, Or what's a heaven for? All is silver-gray Placid and perfect with my art: the worse!

I know both what I want and what might gain, 100 And yet how profitless to know, to sigh "Had I been two, another and myself, Our head would have o'erlooked the world!" No doubt.

Yonder's a work now, of that famous youth The Urbinate who died five years ago. 105 ('Tis copied, George Vasari sent it me.) Well, I can fancy how he did it all, Pouring his soul, with kings and popes to see, Reaching, that heaven might so replenish him, Above and through his art--for it gives way; 110 That arm is wrongly put--and there again-- A fault to pardon in the drawing's lines, Its body, so to speak: its soul is right, He means right--that, a child may understand.

Still, what an arm! and I could alter it: 115 But all the play, the insight and the stretch-- Out of me, out of me! And wherefore out?

Had you enjoined them on me, given me soul, We might have risen to Rafael, I and you!

Nay, Love, you did give all I asked, I think-- 120 More than I merit, yes, by many times.

But had you--oh, with the same perfect brow, And perfect eyes, and more than perfect mouth, And the low voice my soul hears, as a bird The fowler's pipe, and follows to the snare-- 125 Had you, with these the same, but brought a mind!

Some women do so. Had the mouth there urged "G.o.d and the glory! never care for gain.

The present by the future, what is that?

Live for fame, side by side with Agnolo! 130 Rafael is waiting: up to G.o.d, all three!"

I might have done it for you. So it seems: Perhaps not. All is as G.o.d overrules.

Beside, incentives come from the soul's self; The rest avail not. Why do I need you? 135 What wife had Rafael, or has Agnolo?

In this world, who can do a thing, will not; And who would do it, cannot, I perceive: Yet the will's somewhat--somewhat, too, the power-- And thus we half-men struggle. At the end, 140 G.o.d, I conclude, compensates, punishes.

'Tis safer for me, if the award be strict, That I am something underrated here, Poor this long while, despised, to speak the truth.

I dared not, do you know, leave home all day, 145 For fear of chancing on the Paris lords.

The best is when they pa.s.s and look aside; But they speak sometimes; I must bear it all.

Well may they speak! That Francis, that first time, And that long festal year at Fontainebleau! 150 I surely then could sometimes leave the ground, Put on the glory, Rafael's daily wear, In that humane great monarch's golden look-- One finger in his beard or twisted curl Over his mouth's good mark that made the smile, 155 One arm about my shoulder, round my neck, The jingle of his gold chain in my ear, I, painting proudly with his breath on me, All his court round him, seeing with his eyes, Such frank French eyes, and such a fire of souls 160 Profuse, my hand kept plying by those hearts-- And, best of all, this, this, this face beyond, This in the background, waiting on my work, To crown the issue with a last reward!

A good time, was it not, my kingly days? 165 And load you not grown restless ... but I know-- 'Tis done and past; 'twas right, my instinct said; Too live the life grew, golden and not gray, And I'm the weak-eyed bat no sun should tempt Out of the grange whose four walls make his world. 170 How could it end in any other way?

You called me, and I came home to your heart.

The triumph was--to reach and stay there; since I reached it ere the triumph, what is lost?

Let my hands frame your face in your hair's gold, 175 You beautiful Lucrezia that are mine!

"Rafael did this, Andrea painted that; The Roman's is the better when you pray, But still the other's Virgin was his wife"-- Men will excuse me. I am glad to judge 180 Both pictures in your presence; clearer grows My better fortune, I resolve to think.

For, do you know, Lucrezia, as G.o.d lives, Said one day Agnolo, his very self, To Rafael ... I have known it all these years ... 185 (When the young man was flaming out his thoughts Upon a palace-wall for Rome to see, Too lifted up in heart because of it) "Friend, there's a certain sorry little scrub Goes up and down our Florence, none cares how, 190 Who, were he set to plan and execute As you are, p.r.i.c.ked on by your popes and kings, Would bring the sweat into that brow of yours!"

To Rafael's!--And indeed the arm is wrong.

I hardly dare ... yet, only you to see, 195 Give the chalk here--quick, thus the line should go!

Aye, but the soul! he's Rafael! rub it out!

Still, all I care for, if he spoke the truth, (What he? why, who but Michel Agnolo?

Do you forget already words like those?) 200 If really there was such a chance, so lost-- Is, whether you're--not grateful--but more pleased.

Well, let me think so. And you smile indeed!

This hour has been an hour! Another smile?

If you would sit thus by me every night 205 I should work better, do you comprehend?

I mean that I should earn more, give you more.

See, it is settled dusk now; there's a star; Morello's gone, the watch-lights show the wall, The cue-owls speak the name we call them by. 210 Come from the window, love--come in, at last, Inside the melancholy little house We built to be so gay with. G.o.d is just.

King Francis may forgive me: oft at nights When I look up from painting, eyes tired out, 215 The walls become illumined, brick from brick Distinct, instead of mortar, fierce bright gold, That gold of his I did cement them with!

Let us but love each other. Must you go?

That Cousin here again? He waits outside? 220 Must see you--you, and not with me? Those loans?

More gaming debts to pay? You smiled for that?

Well, let smiles buy me! Have you more to spend?

While hand and eye and something of a heart Are left me, work's my ware, and what's it worth? 225 I'll pay my fancy. Only let me sit The gray remainder of the evening out, Idle, you call it, and muse perfectly How I could paint, were I but back in France, One picture, just one more--the Virgin's face, 230 Not yours this time! I want you at my side To hear them--that is, Michel Agnolo-- Judge all I do and tell you of its worth.

Will you? Tomorrow, satisfy your friend.