The Madonna of the Future. Генри Джеймс

have neither talent nor faith!  I am at work!”—and he glanced about him and lowered his voice as if this were a quite peculiar secret—“I’m at work night and day.  I have undertaken a creation!  I am no Moses; I am only a poor patient artist; but it would be a fine thing if I were to cause some slender stream of beauty to flow in our thirsty land!  Don’t think me a monster of conceit,” he went on, as he saw me smile at the avidity with which he adopted my illustration; “I confess that I am in one of those moods when great things seem possible!  This is one of my nervous nights—I dream waking!  When the south wind blows over Florence at midnight it seems to coax the soul from all the fair things locked away in her churches and galleries; it comes into my own little studio with the moonlight, and sets my heart beating too deeply for rest.  You see I am always adding a thought to my conception!  This evening I felt that I couldn’t sleep unless I had communed with the genius of Buonarotti!”

      He seemed deeply versed in local history and tradition, and he expatiated con amore on the charms of Florence.  I gathered that he was an old resident, and that he had taken the lovely city into his heart.  “I owe her everything,” he declared.  “It’s only since I came here that I have really lived, intellectually.  One by one, all profane desires, all mere worldly aims, have dropped away from me, and left me nothing but my pencil, my little note-book” (and he tapped his breast-pocket), “and the worship of the pure masters—those who were pure because they were innocent, and those who were pure because they were strong!”

      “And have you been very productive all this time?” I asked sympathetically.

      He was silent a while before replying.  “Not in the vulgar sense!” he said at last.  “I have chosen never to manifest myself by imperfection.  The good in every performance I have re-absorbed into the generative force of new creations; the bad—there is always plenty of that—I have religiously destroyed.  I may say, with some satisfaction, that I have not added a mite to the rubbish of the world.  As a proof of my conscientiousness”—and he stopped short, and eyed me with extraordinary candour, as if the proof were to be overwhelming—“I have never sold a picture!  ‘At least no merchant traffics in my heart!’  Do you remember that divine line in Browning?  My little studio has never been profaned by superficial, feverish, mercenary work.  It’s a temple of labour, but of leisure!  Art is long.  If we work for ourselves, of course we must hurry.  If we work for her, we must often pause.  She can wait!”

      This had brought us to my hotel door, somewhat to my relief, I confess, for I had begun to feel unequal to the society of a genius of this heroic strain.  I left him, however, not without expressing a friendly hope that we should meet again.  The next morning my curiosity had not abated; I was anxious to see him by common daylight.  I counted upon meeting him in one of the many pictorial haunts of Florence, and I was gratified without delay.  I found him in the course of the morning in the Tribune of the Uffizi—that little treasure-chamber of world-famous things.  He had turned his back on the Venus de’ Medici, and with his arms resting on the rail-mug which protects the pictures, and his head buried in his hands, he was lost in the contemplation of that superb triptych of Andrea Mantegna—a work which has neither the material splendour nor the commanding force of some of its neighbours, but which, glowing there with the loveliness of patient labour, suits possibly a more constant need of the soul.  I looked at the picture for some time over his shoulder; at last, with a heavy sigh, he turned away and our eyes met.  As he recognised me a deep blush rose to his face; he fancied, perhaps, that he had made a fool of himself overnight.  But I offered him my hand with a friendliness which assured him I was not a scoffer.  I knew him by his ardent chevelure; otherwise he was much altered.  His midnight mood was over, and he looked as haggard as an actor by daylight.  He was far older than I had supposed, and he had less bravery of costume and gesture.  He seemed the quiet, poor, patient artist he had proclaimed himself, and the fact that he had never sold a picture was more obvious than glorious.  His velvet coat was threadbare, and his short slouched hat, of an antique pattern, revealed a rustiness which marked it an “original,” and not one of the picturesque reproductions which brethren of his craft affect.  His eye was mild and heavy, and his expression singularly gentle and acquiescent; the more so for a certain pallid leanness of visage, which I hardly knew whether to refer to the consuming fire of genius or to a meagre diet.  A very little talk, however, cleared his brow and brought back his eloquence.

      “And this is your first visit to these enchanted halls?” he cried.  “Happy, thrice happy youth!”  And taking me by the arm, he prepared to lead me to each of the pre-eminent works in turn and show me the cream of the gallery.  But before we left the Mantegna he pressed my arm and gave it a loving look.  “He was not in a hurry,” he murmured.  “He knew nothing of ‘raw Haste, half-sister to Delay!’”  How sound a critic my friend was I am unable to say, but he was an extremely amusing one; overflowing with opinions, theories, and sympathies, with disquisition and gossip and anecdote.  He was a shade too sentimental for my own sympathies, and I fancied he was rather too fond of superfine discriminations and of discovering subtle intentions in shallow places.  At moments, too, he plunged into the sea of metaphysics, and floundered a while in waters too deep for intellectual security.  But his abounding knowledge and happy judgment told a touching story of long attentive hours in this worshipful company; there was a reproach to my wasteful saunterings in so devoted a culture of opportunity.  “There are two moods,” I remember his saying, “in which we may walk through galleries—the critical and the ideal.  They seize us at their pleasure, and we can never tell which is to take its turn.  The critical mood, oddly, is the genial one, the friendly, the condescending.  It relishes the pretty trivialities of art, its vulgar cleverness, its conscious graces.  It has a kindly greeting for anything which looks as if, according to his light, the painter had enjoyed doing it—for the little Dutch cabbages and kettles, for the taper fingers and breezy mantles of late-coming Madonnas, for the little blue-hilled, pastoral, sceptical Italian landscapes.  Then there are the days of fierce, fastidious longing—solemn church feasts of the intellect—when all vulgar effort and all petty success is a weariness, and everything but the best—the best of the best—disgusts.  In these hours we are relentless aristocrats of taste.  We will not take Michael Angelo for granted, we will not swallow Raphael whole!”

      The gallery of the Uffizi is not only rich in its possessions, but peculiarly fortunate in that fine architectural accident, as one may call it, which unites it—with the breadth of river and city between them—to those princely chambers of the Pitti Palace.  The Louvre and the Vatican hardly give you such a sense of sustained inclosure as those long passages projected over street and stream to establish a sort of inviolate transition between the two palaces of art.  We passed along the gallery in which those precious drawings by eminent hands hang chaste and gray above the swirl and murmur of the yellow Arno, and reached the ducal saloons of the Pitti.  Ducal as they are, it must be confessed that they are imperfect as show-rooms, and that, with their deep-set windows and their massive mouldings, it is rather a broken light that reaches the pictured walls.  But here the masterpieces hang thick, and you seem to see them in a luminous atmosphere of their own.  And the great saloons, with their superb dim ceilings, their outer wall in splendid shadow, and the sombre opposite glow of mellow canvas and dusky gilding, make, themselves, almost as fine a picture as the Titians and Raphaels they imperfectly reveal.  We lingered briefly before many a Raphael and Titian; but I saw my friend was impatient, and I suffered him at last to lead me directly to the goal of our journey—the most tenderly fair of Raphael’s virgins, the Madonna in the Chair.  Of all the fine pictures of the world, it seemed to me this is the one with which criticism has least to do.  None betrays less effort, less of the mechanism of success and of the irrepressible discord between conception and result, which shows dimly in so many consummate works.  Graceful, human, near to our sympathies as it is, it has nothing of manner, of method, nothing, almost, of style; it blooms there in rounded softness, as instinct with harmony as if it were an immediate exhalation of genius.  The figure melts away the spectator’s mind into a sort of passionate tenderness which he knows not whether he has given to heavenly purity or to earthly charm.  He is intoxicated with the fragrance of the tenderest blossom of maternity that ever bloomed on earth.

      “That’s what I call a fine picture,” said my companion,