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 fires 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, which 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 mime, 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 Danae, of which I hear such praise.
TITIAN, drawing hack 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 those 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.
GIOROIO.
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
VITTORIA COLONNA, seated in an armchair; 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.
Hand me the mirror.I would fain behold What change comes o'er our features when we die.
