No More Learning

I have been staying with that noble woman
Renee of France, the Duchess of Ferrara.

JULIA.
Oh, tell me of the Duchess. I have heard
Flaminio speak her praises with such warmth
That I am eager to hear more of her
And of her brilliant court.

VITTORIA.
You shall hear all
But first sit down and listen patiently
While I confess myself.

JULIA.
What deadly sin
Have you committed?

VITTORIA.
Not a sin; a folly
I chid you once at Ischia, when you told me
That brave Fra Bastian was to paint your portrait.

JULIA
Well I remember it.

VITTORIA.
Then chide me now,
For I confess to something still more strange.
Old as I am, I have at last consented
To the entreaties and the supplications
Of Michael Angelo--

JULIA
To marry him?

VITTORIA.
I pray you, do not jest with me! You now,
Or you should know, that never such a thought
Entered my breast. I am already married.
The Marquis of Pescara is my husband,
And death has not divorced us.

JULIA.
Pardon me.
Have I offended you?

VITTORIA.
No, but have hurt me.
Unto my buried lord I give myself,
Unto my friend the shadow of myself,
My portrait. It is not from vanity,
But for the love I bear him.

JULIA.
I rejoice
To hear these words. Oh, this will be a portrait
Worthy of both of you! [A knock.

VITTORIA.
Hark! He is coming.

JULIA.
And shall I go or stay?

VITTORIA.
By all means, stay.
The drawing will be better for your presence;
You will enliven me.

JULIA.
I shall not speak;
The presence of great men doth take from me
All power of speech. I only gaze at them
In silent wonder, as if they were gods,
Or the inhabitants of some other planet.

Enter MICHAEL ANGELO.

VITTORIA.
Come in.

MICHAEL ANGELO.
I fear my visit is ill-timed;
I interrupt you.

VITTORIA.
No; this is a friend
Of yours as well as mine,--the Lady Julia,
The Duchess of Trajetto.

MICHAEL ANGELO to JULIA.
I salute you.
'T is long since I have seen your face, my lady;
Pardon me if I say that having seen it,
One never can forget it.

JULIA.
You are kind
To keep me in your memory.

MICHAEL ANGELO.
It is
The privilege of age to speak with frankness.
You will not be offended when I say
That never was your beauty more divine.

JULIA.
When Michael Angelo condescends to flatter
Or praise me, I am proud, and not offended.

VITTORIA.
Now this is gallantry enough for one;
Show me a little.

MICHAEL ANGELO.
Ah, my gracious lady,
You know I have not words to speak your praise.
I think of you in silence. You conceal
Your manifold perfections from all eyes,
And make yourself more saint-like day by day.
And day by day men worship you the wore.
But now your hour of martyrdom has come.
You know why I am here.

VITTORIA.
Ah yes, I know it,
And meet my fate with fortitude. You find me
Surrounded by the labors of your hands:
The Woman of Samaria at the Well,
The Mater Dolorosa, and the Christ
Upon the Cross, beneath which you have written
Those memorable words of Alighieri,
"Men have forgotten how much blood it costs. "

MICHAEL ANGELO.
And now I come to add one labor more,
If you will call that labor which is pleasure,
And only pleasure.

VITTORIA.
How shall I be seated?

MICHAEL ANGELO, opening his portfolio.

Just as you are. The light falls well upon you.

VITTORIA.
I am ashamed to steal the time from you
That should be given to the Sistine Chapel.
How does that work go on?

MICHAEL ANGELO, drawing.
But tardily.
Old men work slowly. Brain and hand alike
Are dull and torpid. To die young is best,
And not to be remembered as old men
Tottering about in their decrepitude.

VITTORIA.
My dear Maestro! have you, then, forgotten
The story of Sophocles in his old age?

MICHAEL ANGELO.
What story is it?

VITTORIA.
When his sons accused him,
Before the Areopagus, of dotage,
For all defence, he read there to his Judges
The Tragedy of Oedipus Coloneus,--
The work of his old age.

MICHAEL ANGELO.
'T is an illusion
A fabulous story, that will lead old men
Into a thousand follies and conceits.

VITTORIA.
So you may show to cavilers your painting
Of the Last Judgment in the Sistine Chapel.

MICHAEL ANGELO.
Now you and Lady Julia shall resume
The conversation that I interrupted.

VITTORIA.
It was of no great import; nothing more
Nor less than my late visit to Ferrara,
And what I saw there in the ducal palace.
Will it not interrupt you?

MICHAEL ANGELO.
Not the least.

VITTORIA.
Well, first, then, of Duke Ercole: a man
Cold in his manners, and reserved and silent,
And yet magnificent in all his ways;
Not hospitable unto new ideas,
But from state policy, and certain reasons
Concerning the investiture of the duchy,
A partisan of Rome, and consequently
Intolerant of all the new opinions.

JULIA.
I should not like the Duke. These silent men,
Who only look and listen, are like wells
That have no water in them, deep and empty.
How could the daughter of a king of France
Wed such a duke?

MICHAEL ANGELO.
The men that women marry
And why they marry them, will always be
A marvel and a mystery to the world.

VITTORIA.
And then the Duchess,--how shall I describe her,
Or tell the merits of that happy nature,
Which pleases most when least it thinks of pleasing?
Not beautiful, perhaps, in form and feature,
Yet with an inward beauty, that shines through
Each look and attitude and word and gesture;
A kindly grace of manner and behavior,
A something in her presence and her ways
That makes her beautiful beyond the reach
Of mere external beauty; and in heart
So noble and devoted to the truth,
And so in sympathy with all who strive
After the higher life.

JULIA.
She draws me to her
As much as her Duke Ercole repels me.

VITTORIA.
Then the devout and honorable women
That grace her court, and make it good to be there;
Francesca Bucyronia, the true-hearted,
Lavinia della Rovere and the Orsini,
The Magdalena and the Cherubina,
And Anne de Parthenai, who sings so sweetly;
All lovely women, full of noble thoughts
And aspirations after noble things.

JULIA.
Boccaccio would have envied you such dames.

VITTORIA.
No; his Fiammettas and his Philomenas
Are fitter company for Ser Giovanni;
I fear he hardly would have comprehended
The women that I speak of.

MICHAEL ANGELO.
Yet he wrote
The story of Griselda. That is something
To set down in his favor.

VITTORIA.
With these ladies
Was a young girl, Olympia Morate,
Daughter of Fulvio, the learned scholar,
Famous in all the universities.
A marvellous child, who at the spinning wheel,
And in the daily round of household cares,
Hath learned both Greek and Latin; and is now
A favorite of the Duchess and companion
Of Princess Anne. This beautiful young Sappho
Sometimes recited to us Grecian odes
That she had written, with a voice whose sadness
Thrilled and o'ermastered me, and made me look
Into the future time, and ask myself
What destiny will be hers.

JULIA.
A sad one, surely.
Frost kills the flowers that blossom out of season;
And these precocious intellects portend
A life of sorrow or an early death.

VITTORIA.
About the court were many learned men;
Chilian Sinapius from beyond the Alps,
And Celio Curione, and Manzolli,
The Duke's physician; and a pale young man,
Charles d'Espeville of Geneva, whom the Duchess
Doth much delight to talk with and to read,
For he hath written a book of Institutes
The Duchess greatly praises, though some call it
The Koran of the heretics.

JULIA.
And what poets
Were there to sing you madrigals, and praise
Olympia's eyes and Cherubina's tresses?

VITTORIA.
No; for great Ariosto is no more.
The voice that filled those halls with melody
Has long been hushed in death.

JULIA.
You should have made
A pilgrimage unto the poet's tomb,
And laid a wreath upon it, for the words
He spake of you.

VITTORIA.
And of yourself no less,
And of our master, Michael Angelo.

MICHAEL ANGELO.
Of me?

VITTORIA.
Have you forgotten that he calls you
Michael, less man than angel, and divine?
You are ungrateful.

MICHAEL ANGELO.
A mere play on words.
That adjective he wanted for a rhyme,
To match with Gian Bellino and Urbino.

VITTORIA.
Bernardo Tasso is no longer there,
Nor the gay troubadour of Gascony,
Clement Marot, surnamed by flatterers
The Prince of Poets and the Poet of Princes,
Who, being looked upon with much disfavor
By the Duke Ercole, has fled to Venice.

MICHAEL ANGELO.
There let him stay with Pietro Aretino,
The Scourge of Princes, also called Divine.
The title is so common in our mouths,
That even the Pifferari of Abruzzi,
Who play their bag-pipes in the streets of Rome
At the Epiphany, will bear it soon,
And will deserve it better than some poets.

VITTORIA.
What bee hath stung you?

MICHAEL ANGELO.
One that makes no honey;
One that comes buzzing in through every window,
And stabs men with his sting. A bitter thought
Passed through my mind, but it is gone again;
I spake too hastily.

JULIA.
I pray you, show me
What you have done.

MICHAEL ANGELO.
Not yet; it is not finished.



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 Catarina'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 I now 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.

I strive in vain to draw here on the margin
The face of Beatrice. It is not hers,
But the Colonna's. Each hath his ideal,
The image of some woman excellent,
That is his guide.
No Grecian art, nor Roman,
Hath yet revealed such loveliness as hers.


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.
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 minds 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.

By unseen hands uplifted in the light
Of sunset, yonder solitary cloud
Floats, with its white apparel blown abroad,
And wafted up to heaven. It fades away,
And melts into the air. Ah, would that I
Could thus be wafted unto thee, Francesco,
A cloud of white, an incorporeal spirit!



III

MICHAEL ANGELO AND BENVENUTO CELLINI

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 as. 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 weapon; 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
Then 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.

[Sitting down again to the Divina Commedia.

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

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.