University of Virginia Library

2. PART SECOND.

I.
MONOLOGUE.

A room in Michael Angelo's house.
MICHAEL ANGELO.
Fled to Viterbo, the old Papal city
Where once an Emperor, humbled in his pride,
Held the Pope's stirrup, as his Holiness
Alighted from his mule! A fugitive
From Cardinal Caraffa's hate, who hurls
His thunders at the house of the Colonna,
With endless bitterness!—Among the nuns
In Santa Caterina's convent hidden,
Herself in soul a nun! And now she chides me
For my too frequent letters, that disturb
Her meditations, and that hinder me
And keep me from my work; now graciously
She thanks me for the crucifix I sent her,
And says that she will keep it: with one hand
Inflicts a wound, and with the other heals it.
[Reading.
[“Profoundly I believed that God would grant you
A supernatural faith to paint this Christ
I wished for that which now I see fulfilled
So marvellously, exceeding all my wishes.
Nor more could be desired, or even so much.
And greatly I rejoice that you have made
The angel on the right so beautiful;
For the Archangel Michael will place you,
You, Michael Angelo, on that new day,
Upon the Lord's right hand! And waiting that,
How can I better serve you than to pray
To this sweet Christ for you, and to beseech you
To hold me altogether yours in all things.”]
Well, I will write less often, or no more,
But wait her coming. No one born in Rome
Can live elsewhere; but he must pine for Rome,
And must return to it. I, who am born
And bred a Tuscan and a Florentine,
Feel the attraction, and I linger here
As if I were a pebble in the pavement
Trodden by priestly feet. This I endure,
Because I breathe in Rome an atmosphere
Heavy with odors of the laurel leaves
That crowned great heroes of the sword and pen,
In ages past. I feel myself exalted
To walk the streets in which a Virgil walked,
Or Trajan rode in triumph; but far more,
And most of all, because the great Colonna
Breathes the same air I breathe, and is to me
An inspiration. [Now that she is gone,
Rome is no longer Rome till she return.
This feeling overmasters me. I know not
If it be love, this strong desire to be
Forever in her presence; but I know
That I, who was the friend of solitude,
And ever was best pleased when most alone,
Now weary grow of my own company.
For the first time old age seems lonely to me.]
[Opening the Divina Commedia.
I turn for consolation to the leaves
Of the great master of our Tuscan tongue,
Whose words, like colored garnet-shirls in lava,
Betray the heat in which they were engendered.
A mendicant, he ate the bitter bread
Of others, but repaid their meagre gifts
With immortality. In courts of princes
He was a by-word, and in streets of towns
Was mocked by children, like the Hebrew prophet,
Himself a prophet. I too know the cry,
Go up, thou bald head! from a generation
That, wanting reverence, wanteth the best food
The soul can feed on. There 's not room enough
For age and youth upon this little planet.
Age must give way. There was not room enough
Even for this great poet. In his song
I hear reverberate the gates of Florence,
Closing upon him, never more to open;
But mingled with the sound are melodies
Celestial from the gates of paradise.
He came and he is gone. The people knew not
What manner of man was passing by their doors,
Until he passed no more; but in his vision
He saw the torments and beatitudes
Of souls condemned or pardoned, and hath left
Behind him this sublime Apocalypse.

December 23, 1873.]

II.
VITERBO.

Vittoria Colonna at the convent window.
VITTORIA.
Parting with friends is temporary death,
As all death is. We see no more their faces,
Nor hear their voices, save in memory.
But messages of love give us assurance
That we are not forgotten. Who shall say
That from the world of spirits comes no greeting,
No message of remembrance? It may be
The thoughts that visit us, we know not whence,
Sudden as inspiration, are the whispers
Of disembodied spirits, speaking to us
As friends, who wait outside a prison wall,
Through the barred windows speak to those within.
[A pause.
As quiet as the lake that lies beneath me,
As quiet as the tranquil sky above me,
As quiet as a heart that beats no more,
This convent seems. Above, below, all peace!
Silence and solitude, the soul's best friends,
Are with me here, and the tumultuous world
Makes no more noise than the remotest planet.
[A pause.
O gentle spirit, unto the third circle
Of heaven among the blessed souls ascended,
Who, living in the faith and dying for it,
Have gone to their reward, I do not sigh
For thee as being dead, but for myself
That I am still alive. Turn those dear eyes,
Once so benignant to me, upon mine,
That open to their tears such uncontrolled
And such continual issue. Still awhile
Have patience; I will come to thee at last.
A few more goings in and out these doors,
A few more chimings of these convent bells,
A few more prayers, a few more sighs and tears,
And the long agony of this life will end,
And I shall be with thee. If I am wanting
To thy well-being, as thou art to mine,
Have patience; I will come to thee at last.
Ye winds that loiter in these cloister gardens,
Or wander far above the city walls,
Bear unto him this message, that I ever
Or speak or think of him, or weep for him.

III.
MICHAEL ANGELO AND BENVENUTO CELLINI.

Scene I.

—Michael Angelo, Benvenuto Cellini in gay attire.
BENVENUTO.
A good day and good year to the divine
Maestro Michael Angelo, the sculptor!

MICHAEL ANGELO.
Welcome, my Benvenuto.

BENVENUTO.
That is what
My father said, the first time he beheld
This handsome face. But say farewell, not welcome.
I come to take my leave. I start for Florence
As fast as horse can carry me. I long
To set once more upon its level flags
These feet, made sore by your vile Roman pavements.
Come with me; you are wanted there in Florence.
The Sacristy is not finished.

MICHAEL ANGELO.
Speak not of it!
How damp and cold it was! How my bones ached
And my head reeled, when I was working there!
I am too old. I will stay here in Rome,
Where all is old and crumbling, like myself,
[To hopeless ruin. All roads lead to Rome.

BENVENUTO.
And all lead out of it.

MICHAEL ANGELO.
There is a charm,]
A certain something in the atmosphere,
That all men feel, and no man can describe.

BENVENUTO.
Malaria?

MICHAEL ANGELO.
Yes, malaria of the mind,
Out of this tomb of the majestic Past;
The fever to accomplish some great work
That will not let us sleep. I must go on
Until I die.

BENVENUTO.
Do you ne'er think of Florence?

MICHAEL ANGELO.
Yes; whenever
I think of anything beside my work,
I think of Florence. I remember, too,
The bitter days I passed among the quarries
Of Seravezza and Pietrasanta;
Road-building in the marshes; stupid people,
And cold and rain incessant, and mad gusts
Of mountain wind, like howling Dervishes,
That spun and whirled the eddying snow about them
As if it were a garment; aye, vexations
And troubles of all kinds, that ended only
In loss of time and money.

BENVENUTO.
True, Maestro;
But that was not in Florence. You should leave
Such work to others. Sweeter memories
Cluster about you, in the pleasant city
Upon the Arno.

MICHAEL ANGELO.
In my waking dreams
I see the marvellous dome of Brunelleschi,
Ghiberti's gates of bronze, and Giotto's tower;
And Ghirlandajo's lovely Benci glides
With folded hands amid my troubled thoughts,
A splendid vision! Time rides with the old
At a great pace. As travellers on swift steeds
See the near landscape fly and flow behind them,
While the remoter fields and dim horizons
Go with them, and seem wheeling round to meet them,
So in old age things near us slip away,
And distant things go with us. Pleasantly
Come back to me the days when, as a youth,
I walked with Ghirlandajo in the gardens
Of Medici, and saw the antique statues,
The forms august of gods and godlike men,
And the great world of art revealed itself
To my young eyes. Then all that man hath done
Seemed possible to me. Alas! how little
Of all I dreamed of has my hand achieved!

BENVENUTO.
Nay, let the Night and Morning, let Lorenzo
And Julian in the Sacristy at Florence,
Prophets and Sibyls in the Sistine Chapel,
And the Last Judgment answer. Is it finished?

MICHAEL ANGELO.
The work is nearly done. But this Last Judgment
Has been the cause of more vexation to me
Than it will be of honor. Ser Biagio,
Master of ceremonies at the Papal court,
A man punctilious and over nice,
Calls it improper; says that those nude forms,
Showing their nakedness in such shameless fashion,
Are better suited to a common bagnio,
Or wayside wine-shop, than a Papal Chapel.
To punish him I painted him as Minos
[And leave him there as master of ceremonies]
In the Infernal Regions. What would you
Have done to such a man?

BENVENUTO.
I would have killed him.
When any one insults me, if I can
I kill him, kill him.

MICHAEL ANGELO.
Oh, you gentlemen,
Who dress in silks and velvets, and wear swords,
Are ready with your weapons, and have all
A taste for homicide.

[BENVENUTO.
I learned that lesson
Under Pope Clement at the siege of Rome,
Some twenty years ago. As I was standing
Upon the ramparts of the Campo Santo
With Alessandro Bene, I beheld
A sea of fog, that covered all the plain,
And hid from us the foe; when suddenly,
A misty figure, like an apparition,
Rose up above the fog, as if on horseback.
At this I aimed my arquebus, and fired.
The figure vanished; and there rose a cry
Out of the darkness, long and fierce and loud,
With imprecations in all languages.
It was the Constable of France, the Bourbon,
That I had slain.

MICHAEL ANGELO.
Rome should be grateful to you.]

BENVENUTO.
But has not been; you shall hear presently.
During the siege I served as bombardier,
There in St. Angelo. His Holiness,
One day, was walking with his Cardinals
On the round bastion, while I stood above
Among my falconets. [All thought and feeling,
All skill in art and all desire of fame,
Were swallowed up in the delightful music
Of that artillery.] I saw far off,
Within the enemy's trenches on the Prati,
A Spanish cavalier in scarlet cloak;
And firing at him with due aim and range,
I cut the gay Hidalgo in two pieces.
[The eyes are dry that wept for him in Spain.]
His Holiness, delighted beyond measure
With such display of gunnery, and amazed
To see the man in scarlet cut in two,
Gave me his benediction, and absolved me
From all the homicides I had committed
In service of the Apostolic Church,
Or should commit thereafter. From that day
I have not held in very high esteem
The life of man.

MICHAEL ANGELO.
And who absolved Pope Clement?
Now let us speak of Art.

BENVENUTO.
Of what you will.

MICHAEL ANGELO.
Say, have you seen our friend Fra Bastian lately,
Since by a turn of fortune he became
Friar of the Signet?

BENVENUTO.
Faith, a pretty artist
To pass his days in stamping leaden seals
On Papal bulls!

MICHAEL ANGELO.
He has grown fat and lazy,
As if the lead clung to him like a sinker.
He paints no more, since he was sent to Fondi
By Cardinal Ippolito to paint
The fair Gonzaga. Ah, you should have seen him
As I did, riding through the city gate,
In his brown hood, attended by four horsemen,
Completely armed, to frighten the banditti.
[I think he would have frightened them alone,
For he was rounder than the O of Giotto.]

BENVENUTO.
He must have looked more like a sack of meal
Than a great painter.

MICHAEL ANGELO.
Well, he is not great,
But still I like him greatly. Benvenuto,
Have faith in nothing but in industry.
Be at it late and early; persevere,
And work right on through censure and applause,
Or else abandon Art.

BENVENUTO.
No man works harder
Than I do. I am not a moment idle.

MICHAEL ANGELO.
And what have you to show me?

BENVENUTO.
This gold ring,
Made for his Holiness,—my latest work,
And I am proud of it. A single diamond,
Presented by the Emperor to the Pope.
Targhetta of Venice set and tinted it;
I have reset it, and retinted it
Divinely, as you see. The jewellers
Say I 've surpassed Targhetta.

MICHAEL ANGELO.
Let me see it.
A pretty jewel.

BENVENUTO.
That is not the expression.
Pretty is not a very pretty word
To be applied to such a precious stone,
Given by an Emperor to a Pope, and set
By Benvenuto!

MICHAEL ANGELO.
Messer Benvenuto,
I lose all patience with you; for the gifts
That God hath given you are of such a kind,
They should be put to far more noble uses
Than setting diamonds for the Pope of Rome.
You can do greater things.

BENVENUTO.
The God who made me
Knows why he made me what I am,—a goldsmith,
A mere artificer.

MICHAEL ANGELO.
Oh no; an artist,
Richly endowed by nature, but who wraps
His talent in a napkin, and consumes
His life in vanities.

BENVENUTO.
Michael Angelo
May say what Benvenuto would not bear
From any other man. He speaks the truth.
I know my life is wasted and consumed
In vanities; but I have better hours
And higher aspirations than you think.
Once, when a prisoner at St. Angelo,
Fasting and praying in the midnight darkness,
In a celestial vision I beheld
A crucifix in the sun, of the same substance
As is the sun itself. And since that hour
There is a splendor round about my head,
That may be seen at sunrise and at sunset
Above my shadow on the grass. And now
I know that I am in the grace of God,
And none henceforth can harm me.

MICHAEL ANGELO.
None but one,—
None but yourself, who are your greatest foe.
He that respects himself is safe from others;
He wears a coat of mail that none can pierce.

BENVENUTO.
I always wear one.

MICHAEL ANGELO.
O incorrigible!
At least, forget not the celestial vision.
Man must have something higher than himself
To think of.

BENVENUTO.
That I know full well. Now listen.
I have been sent for into France, where grow
The Lilies that illumine heaven and earth,
And carry in mine equipage the model
Of a most marvellous golden salt-cellar
For the king's table; and here in my brain
A statue of Mars Armipotent for the fountain
Of Fontainebleau, colossal, wonderful.
I go a goldsmith, to return a sculptor.
And so farewell, great Master. Think of me
As one who, in the midst of all his follies,
Had also his ambition, and aspired
To better things.

MICHAEL ANGELO.
Do not forget the vision.

Scene II.

—Michael Angelo sitting down again to the Divina Commedia.
MICHAEL ANGELO.
Now in what circle of his poem sacred
Would the great Florentine have placed this man?
Whether in Phlegethon, the river of blood,
Or in the fiery belt of Purgatory,
I know not, but most surely not with those
Who walk in leaden cloaks. Though he is one
Whose passions, like a potent alkahest,
Dissolve his better nature, he is not
That despicable thing, a hypocrite;
He doth not cloak his vices, nor deny them.
Come back, my thoughts, from him to Paradise.

IV.
FRA SEBASTIANO DEL PIOMBO.

Scene I.

—Michael Angelo; Fra Sebastiano del Piombo.
MICHAEL ANGELO,
not turning round.
Who is it?

FRA SEBASTIANO.
Wait, for I am out of breath
In climbing your steep stairs.

MICHAEL ANGELO.
Ah, my Bastiano,
If you went up and down as many stairs
As I do still, and climbed as many ladders,
It would be better for you. Pray sit down.
Your idle and luxurious way of living
Will one day take your breath away entirely,
And you will never find it.

FRA SEBASTIANO.
Well, what then?
That would be better, in my apprehension,
Than falling from a scaffold.

MICHAEL ANGELO.
That was nothing.
It did not kill me; only lamed me slightly;
I am quite well again.

FRA SEBASTIANO.
But why, dear Master,
Why do you live so high up in your house,
When you could live below and have a garden,
As I do?

MICHAEL ANGELO.
From this window I can look
On many gardens; o'er the city roofs
See the Campagna and the Alban hills:
And all are mine.

FRA SEBASTIANO.
Can you sit down in them,
On summer afternoons, and play the lute,
Or sing, or sleep the time away?

MICHAEL ANGELO.
I never
Sleep in the day-time; scarcely sleep at night;
I have not time. Did you meet Benvenuto
As you came up the stair?

FRA SEBASTIANO.
He ran against me
On the first landing, going at full speed;
Dressed like the Spanish captain in a play,
With his long rapier and his short red cloak.
Why hurry through the world at such a pace?
Life will not be too long.

MICHAEL ANGELO.
It is his nature,—
A restless spirit, that consumes itself
With useless agitations. He o'erleaps
The goal he aims at. Patience is a plant
That grows not in all gardens. You are made
Of quite another clay.

FRA SEBASTIANO.
And thank God for it.
And now, being somewhat rested, I will tell you
Why I have climbed these formidable stairs.
I have a friend, Francesco Berni, here,
A very charming poet and companion,
Who greatly honors you and all your doings,
And you must sup with us.

MICHAEL ANGELO.
Not I, indeed.
I know too well what artists' suppers are.
You must excuse me.

[FRA SEBASTIANO.
I will not excuse you.
You need repose from your incessant work;
Some recreation, some bright hours of pleasure.

MICHAEL ANGELO.
To me, what you and other men call pleasure
Is only pain. Work is my recreation,
The play of faculty; a delight like that
Which a bird feels in flying, or a fish
In darting through the water,—nothing more.
I cannot go. The Sibylline leaves of life
Grow precious now, when only few remain.
I cannot go.]

FRA SEBASTIANO.
Berni, perhaps, will read
A canto of the Orlando Innamorato.

MICHAEL ANGELO.
That is another reason for not going.
If aught is tedious and intolerable,
It is a poet reading his own verses.

FRA SEBASTIANO.
Berni thinks somewhat better of your verses
Than you of his. He says that you speak things,
And other poets words. So, pray you, come.

MICHAEL ANGELO.
If it were now the Improvisatore,
Luigi Pulci, whom I used to hear
With Benvenuto, in the streets of Florence,
I might be tempted. I was younger then,
And singing in the open air was pleasant.

FRA SEBASTIANO.
There is a Frenchman here, named Rabelais,
Once a Franciscan friar, and now a doctor,
And secretary to the embassy:
A learned man, who speaks all languages,
And wittiest of men; who wrote a book
Of the Adventures of Gargantua,
So full of strange conceits one roars with laughter
At every page; a jovial boon-companion
And lover of much wine. He too is coming.

MICHAEL ANGELO.
Then you will not want me, who am not witty,
And have no sense of mirth, and love not wine.
I should be like a dead man at your banquet.
Why should I seek this Frenchman, Rabelais?
And wherefore go to hear Francesco Berni,
When I have Dante Alighieri here,
The greatest of all poets?

FRA SEBASTIANO.
And the dullest;
And only to be read in episodes.
His day is past. Petrarca is our poet.

MICHAEL ANGELO.
Petrarca is for women and for lovers,
And for those soft Abati, who delight
To wander down long garden walks in summer,
Tinkling their little sonnets all day long,
As lap-dogs do their bells.

FRA SEBASTIANO.
I love Petrarca.
How sweetly of his absent love he sings,
When journeying in the forest of Ardennes!
“I seem to hear her, hearing the boughs and breezes
And leaves and birds lamenting, and the waters
Murmuring flee along the verdant herbage.”

MICHAEL ANGELO.
Enough. It is all seeming, and no being.
If you would know how a man speaks in earnest,
Read here this passage, where St. Peter thunders
In Paradise against degenerate Popes
And the corruptions of the church, till all
The heaven about him blushes like a sunset.
I beg you to take note of what he says
About the Papal seals, for that concerns
Your office and yourself.

FRA SEBASTIANO,
reading.
Is this the passage?
“Nor I be made the figure of a seal
To privileges venal and mendacious;
Whereat I often redden and flash with fire!”—
That is not poetry.

MICHAEL ANGELO.
What is it, then?

FRA SEBASTIANO.
Vituperation; gall that might have spirted
From Aretino's pen.

MICHAEL ANGELO.
Name not that man!
A profligate, whom your Francesco Berni
Describes as having one foot in the brothel
And the other in the hospital; who lives
By flattering or maligning, as best serves
His purpose at the time. He writes to me
With easy arrogance of my Last Judgment,
In such familiar tone that one would say
The great event already had transpired,
And he was present, and from observation
Informed me how the picture should be painted.

FRA SEBASTIANO.
What unassuming, unobtrusive men
These critics are! Now, to have Aretino
Aiming his shafts at you brings back to mind
The Gascon archers in the square of Milan,
Shooting their arrows at Duke Sforza's statue,
By Leonardo, and the foolish rabble
Of envious Florentines, that at your David
Threw stones at night. But Aretino praised you.

MICHAEL ANGELO.
His praises were ironical. He knows
How to use words as weapons, and to wound
While seeming to defend. But look, Bastiano,
See how the setting sun lights up that picture!

[FRA SEBASTIANO.
My portrait of Vittoria Colonna.

MICHAEL ANGELO.]
It makes her look as she will look hereafter,
When she becomes a saint!

[FRA SEBASTIANO.]
A noble woman!

MICHAEL ANGELO.
Ah, these old hands can fashion fairer shapes
In marble, and can paint diviner pictures,
Since I have known her.

FRA SEBASTIANO.
And you like this picture;
And yet it is in oils, which you detest.

[MICHAEL ANGELO.
When that barbarian Jan Van Eyck discovered
The use of oil in painting, he degraded
His art into a handicraft, and made it
Sign-painting, merely, for a country inn
Or wayside wine-shop. 'T is an art for women,
Or for such leisurely and idle people
As you are, Fra Bastiano. Nature paints not
In oils, but frescoes the great dome of heaven
With sunsets, and the lovely forms of clouds
And flying vapors.

FRA SEBASTIANO.
And how soon they fade!
Behold you line of roofs and belfries painted
Upon the golden background of the sky,
Like a Byzantine picture, or a portrait
Of Cimabue. See how hard the outline,
Sharp-cut and clear, not rounded into shadow.
Yet that is nature.

MICHAEL ANGELO.
She is always right.
The picture that approaches sculpture nearest
Is the best picture.

FRA SEBASTIANO.
Leonardo thinks
The open air too bright. We ought to paint
As if the sun were shining through a mist.
'T is easier done in oil than in distemper.]

MICHAEL ANGELO.
Do not revive again the old dispute;
I have an excellent memory for forgetting,
But I still feel the hurt. Wounds are not healed
By the unbending of the bow that made them.

[FRA SEBASTIANO.
So say Petrarca and the ancient proverb.

MICHAEL ANGELO.]
But that is past. Now I am angry with you,
Not that you paint in oils, but that, grown fat
And indolent, you do not paint at all.

FRA SEBASTIANO.
Why should I paint? Why should I toil and sweat,
Who now am rich enough to live at ease,
And take my pleasure?

MICHAEL ANGELO.
When Pope Leo died,
He who had been so lavish of the wealth
His predecessors left him, who received
A basket of gold-pieces every morning,
Which every night was empty, left behind
Hardly enough to pay his funeral.

[FRA SEBASTIANO.
I care for banquets, not for funerals,
As did his Holiness. I have forbidden
All tapers at my burial, and procession
Of priests and friars and monks; and have provided
The cost thereof be given to the poor!

MICHAEL ANGELO.
You have done wisely, but of that I speak not.]
Ghiberti left behind him wealth and children;
But who to-day would know that he had lived,
If he had never made those gates of bronze
In the old Baptistery,—those gates of bronze,
Worthy to be the gates of Paradise.
His wealth is scattered to the winds; his children
Are long since dead; but those celestial gates
Survive, and keep his name and memory green.

FRA SEBASTIANO.
But why should I fatigue myself? I think
That all things it is possible to paint
Have been already painted; and if not,
Why, there are painters in the world at present
Who can accomplish more in two short months
Than I could in two years; so it is well
That some one is contented to do nothing,
And leave the field to others.

MICHAEL ANGELO.
O blasphemer!
Not without reason do the people call you
Sebastian del Piombo, for the lead
Of all the Papal bulls is heavy upon you,
And wraps you like a shroud.

FRA SEBASTIANO.
Misericordia!
Sharp is the vinegar of sweet wine, and sharp
The words you speak, because the heart within you
Is sweet unto the core.

MICHAEL ANGELO.
How changed you are
From the Sebastiano I once knew,
When poor, laborious, emulous to excel,
You strove in rivalry with Baldassare
And Raphael Sanzio.

FRA SEBASTIANO.
Raphael is dead;
He is but dust and ashes in his grave,
While I am living and enjoying life,
And so am victor. One live Pope is worth
A dozen dead ones.

MICHAEL ANGELO.
Raphael is not dead;
[He doth but sleep; for how can he be dead
Who lives immortal in the hearts of men?
He only drank the precious wine of youth,
The outbreak of the grapes, before the vintage
Was trodden to bitterness by the feet of men.
The gods have given him sleep.] We never were
Nor could be foes, although our followers,
Who are distorted shadows of ourselves,
Have striven to make us so; but each one worked
Unconsciously upon the other's thought,
Both giving and receiving. He perchance
Caught strength from me, and I some greater sweetness
And tenderness from his more gentle nature.
I have but words of praise and admiration
For his great genius; and the world is fairer
That he lived in it.

FRA SEBASTIANO.
We at least are friends;
So come with me.

MICHAEL ANGELO.
No, no; I am best pleased
When I'm not asked to banquets. [I have reached
A time of life when daily walks are shortened,
And even the houses of our dearest friends,
That used to be so near, seem far away.]

FRA SEBASTIANO.
Then we must sup without you. We shall laugh
At those who toil for fame, and make their lives
A tedious martyrdom, that they may live
A little longer in the mouths of men!
And so, good-night.

MICHAEL ANGELO.
Good-night, my Fra Bastiano.

Scene II.

—Michael Angelo, returning to his work.
MICHAEL ANGELO.
How will men speak of me when I am gone,
When all this colorless, sad life is ended,
And I am dust? They will remember only
The wrinkled forehead, the marred countenance,
The rudeness of my speech, and my rough manners,
And never dream that underneath them all
There was a woman's heart of tenderness;
They will not know the secret of my life,
Locked up in silence, or but vaguely hinted
In uncouth rhymes, that may perchance survive
Some little space in memories of men!
Each one performs his life-work, and then leaves it;
Those that come after him will estimate
His influence on the age in which he lived.

V.
PALAZZO BELVEDERE.

Titan's studio. A painting of Danaë with a curtain before it. Titian, Michael Angelo, and Giorgio Vasari.
MICHAEL ANGELO.
So you have left at last your still lagoons,
Your City of Silence floating in the sea,
And come to us in Rome.

TITIAN.
I come to learn,
But I have come too late. I should have seen
Rome in my youth, when all my mind was open
To new impressions. Our Vasari here
Leads me about, a blind man, groping darkly
Among the marvels of the past. I touch them,
But do not see them.

MICHAEL ANGELO.
There are things in Rome
That one might walk barefooted here from Venice
But to see once, and then to die content.

TITIAN.
I must confess that these majestic ruins
Oppress me with their gloom. I feel as one
Who in the twilight stumbles among tombs,
And cannot read the inscriptions carved upon them.

MICHAEL ANGELO.
I felt so once; but I have grown familiar
Wtih desolation, and it has become
No more a pain to me, but a delight.

TITIAN.
I could not live here. I must have the sea,
And the sea-mist, with sunshine interwoven
Like cloth of gold; must have beneath my windows
The laughter of the waves, and at my door
Their pattering footsteps, or I am not happy.

MICHAEL ANGELO.
[Then tell me of your city in the sea,
Paved with red basalt of the Paduan hills.
Tell me of art in Venice. Three great names,]
Giorgione, Titian, and the Tintoretto,
Illustrate your Venetian school, and send
A challenge to the world. The first is dead,
But Tintoretto lives.

TITIAN.
And paints with fire,
Sudden and splendid, as the lightning paints
The cloudy vault of heaven.

GIORGIO.
Does he still keep
Above his door the arrogant inscription
That once was painted there,—“The color of Titian,
With the design of Michael Angelo”?

TITIAN.
Indeed, I know not. 'T was a foolish boast,
And does no harm to any but himself.
Perhaps he has grown wiser.

MICHAEL ANGELO.
When you two
Are gone, who is there that remains behind
To seize the pencil falling from your fingers?

GIORGIO.
Oh, there are many hands upraised already
To clutch at such a prize, and hardly wait
For death to loose your grasp,—a hundred of them:
Schiavone, Bonifazio, Campagnola,
Moretto, and Moroni; who can count them,
Or measure their ambition?

[TITIAN.
When we are gone,
The generation that comes after us
Will have far other thoughts than ours. Our ruins
Will serve to build their palaces or tombs.
They will possess the world that we think ours,
And fashion it far otherwise.]

MICHAEL ANGELO.
I hear
Your son Orazio and your nephew Marco
Mentioned with honor.

TITIAN.
Ay, brave lads, brave lads.
But time will show. There is a youth in Venice,
One Paul Cagliari, called the Veronese,
Still a mere stripling, but of such rare promise
That we must guard our laurels, or may lose them.

MICHAEL ANGELO.
These are good tidings; for I sometimes fear
That, when we die, with us all art will die.
'T is but a fancy. Nature will provide
Others to take our places. I rejoice
To see the young spring forward in the race,
Eager as we were, and as full of hope
And the sublime audacity of youth.

[TITIAN.
Men die and are forgotten. The great world
Goes on the same. Among the myriads
Of men that live, or have lived, or shall live,
What is a single life, or thine or mine,
That we should think all nature would stand still
If we were gone? We must make room for others.

MICHAEL ANGELO.]
And now, Maestro, pray unveil your picture
Of Danaë, of which I hear such praise.

TITIAN,
drawing back the curtain.
What think you?

MICHAEL ANGELO.
That Acrisius did well
To lock such beauty in a brazen tower,
And hide it from all eyes.

TITIAN.
The model truly
Was beautiful.

MICHAEL ANGELO.
And more, that you were present,
And saw the showery Jove from high Olympus
Descend in all his splendor.

TITIAN.
From your lips
Such words are full of sweetness.

MICHAEL ANGELO.
You have caught
These golden hues from your Venetian sunsets.

TITIAN.
Possibly.

MICHAEL ANGELO.
Or from sunshine through a shower
On the lagoons, or the broad Adriatic.
[Nature reveals herself in all our arts.
The pavements and the palaces of cities
Hint at the nature of the neighboring hills.
Red lavas from the Euganean quarries
Of Padua pave your streets; your palaces
Are the white stones of Istria, and gleam
Reflected in your waters and your pictures.
And thus the works of every artist show
Something of his surroundings and his habits.
The uttermost that can be reached by color]
Is here accomplished. Warmth and light and softness
Mingle together. Never yet was flesh
Painted by hand of artist, dead or living,
With such divine perfection.

TITIAN.
I am grateful
For so much praise from you, who are a master;
While mostly those who praise and those who blame
Know nothing of the matter, so that mainly
Their censure sounds like praise, their praise like censure.

MICHAEL ANGELO.
Wonderful! wonderful! The charm of color
Fascinates me the more that in myself
The gift is wanting. I am not a painter.

GIORGIO.
Messer Michele, all the arts are yours,
Not one alone; and therefore I may venture
To put a question to you.

MICHAEL ANGELO.
Well, speak on.

GIORGIO.
Two nephews of the Cardinal Farnese
Have made me umpire in dispute between them
Which is the greater of the sister arts,
Painting or sculpture. Solve for me the doubt.

MICHAEL ANGELO.
Sculpture and painting have a common goal,
And whosoever would attain to it,
Whichever path he take, will find that goal
Equally hard to reach.

GIORGIO.
No doubt, no doubt;
But you evade the question.

MICHAEL ANGELO.
When I stand
In presence of this picture, I concede
That painting has attained its uttermost;
But in the presence of my sculptured figures
I feel that my conception soars beyond
All limit I have reached.

GIORGIO.
You still evade me.

MICHAEL ANGELO.
Giorgio Vasari, I have often said
That I account that painting as the best
Which most resembles sculpture. Here before us
We have the proof. Behold these rounded limbs!
How from the canvas they detach themselves,
Till they deceive the eye, and one would say,
It is a statue with a screen behind it!

TITIAN.
Signori, pardon me; but all such questions
Seem to me idle.

MICHAEL ANGELO.
Idle as the wind.
And now, Maestro, I will say once more
How admirable I esteem your work,
And leave you, without further interruption.

TITIAN.
Your friendly visit hath much honored me.

GIORGIO.
Farewell.

MICHAEL ANGELO
to GIORGIO, going out.
If the Venetian painters knew
But half as much of drawing as of color,
They would indeed work miracles in art,
And the world see what it hath never seen.

VI.
PALAZZO CESARINI.

Scene I.

—Vittoria Colonna, seated in an arm-chair: Julia Gonzaga, standing near her.
JULIA.
It grieves me that I find you still so weak
And suffering.

VITTORIA.
No, not suffering; only dying.
Death is the chillness that precedes the dawn;
We shudder for a moment, then awake
In the broad sunshine of the other life.
I am a shadow, merely, and these hands,
These cheeks, these eyes, these tresses that my husband
Once thought so beautiful, and I was proud of
Because he thought them so, are faded quite,—
All beauty gone from them.

JULIA.
Ah, no, not that.
Paler you are, but not less beautiful.

VITTORIA,
folding her hands.
O gentle spirit, unto the third circle
Of heaven among the blessed souls ascended,
Who living for the faith and dying for it,
Have gone to their reward, I do not mourn
For thee as being dead, but for myself
That I am still alive. A little longer
Have patience with me, and if I am wanting
To thy well-being as thou art to mine,
Have patience; I will come to thee ere long.

JULIA.
Do not give way to these foreboding thoughts.

VITTORIA.
Hand me the mirror. I would fain behold
What change comes o'er our features when we die.
Thank you. And now sit down beside me here.]
How glad I am that you have come to-day,
Above all other days, and at the hour
When most I need you.

JULIA.
Do you ever need me?

VITTORIA.
Always, and most of all to-day and now.
Do you remember, Julia, when we walked,
One afternoon, upon the castle terrace
At Ischia, on the day before you left me?

JULIA.
Well I remember; but it seems to me
Something unreal that has never been,
Something that I have read of in a book,
Or heard of some one else.

VITTORIA.
Ten years and more
Have passed since then; and many things have happened
In those ten years, and many friends have died:
Marco Flaminio, whom we all admired
And loved as our Catullus; dear Valdesso,
The noble champion of free thought and speech:
And Cardinal Ippolito, your friend.

JULIA.
Oh, do not speak of him! His sudden death
O'ercomes me now, as it o'ercame me then.
Let me forget it; for my memory
Serves me too often as an unkind friend,
And I remember things I would forget,
While I forget the things I would remember.

VITTORIA.
Forgive me; I will speak of him no more.
The good Fra Bernardino has departed,
Has fled from Italy, and crossed the Alps,
Fearing Caraffa's wrath, because he taught
That He who made us all without our help
Could also save us without aid of ours.
Renée of France, the Duchess of Ferrara,
That Lily of the Loire, is bowed by winds
That blow from Rome; Olympia Morata
Banished from court because of this new doctrine.
Therefore be cautious. Keep your secret thought
Locked in your breast.

JULIA.
I will be very prudent.
But speak no more, I pray; it wearies you.

VITTORIA.
Yes, I am very weary. Read to me.

JULIA.
Most willingly. What shall I read?

VITTORIA.
Petrarca's
Triumph of Death. The book lies on the table,
Beside the casket there. Read where you find
The leaf turned down. 'T was there I left off reading.

JULIA,
reads.

[The mirror falls and breaks.
VITTORIA.
Call my confessor!—
Not disobedient to the heavenly vision!
Pescara! my Pescara!

[Dies.
JULIA.
Holy Virgin!
Her body sinks together,—she is dead!

[Kneels, and hides her face in Vittoria's lap

Scene II.

—Julia Gonzaga, Michael Angelo.
JULIA.
Hush! make no noise.

MICHAEL ANGELO.
How is she?

JULIA.
Never better.

MICHAEL ANGELO.
Then she is dead!

JULIA.
Alas! yes, she is dead!
Even death itself in her fair face seems fair.

[MICHAEL ANGELO.
How wonderful! The light upon her face
Shines from the windows of another world.
Saints only have such faces. Holy Angels!
Bear her like sainted Catherine to her rest!

[Kisses Vittoria's hand.]