The Madonna of the Future | Page 6

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