The Madonna of the Future | Page 8

says nothing to Nature, or to any beautiful girl, that they will not both forgive! It says to the fair woman, 'Accept me as your artist friend, lend me your beautiful face, trust me, help me, and your eyes shall be half my masterpiece!' No one so loves and respects the rich realities of nature as the artist whose imagination caresses and flatters them. He knows what a fact may hold (whether Raphael knew, you may judge by his portrait, behind us there, of Tommaso Inghirami); bad his fancy hovers above it, as Anal hovered above the sleeping prince. There is only one Raphael, bad an artist may still be an artist. As I said last night, the days of illumination are gone; visions are rare; we have to look long to see them. But in meditation we may still cultivate the ideal; round it, smooth it, perfect it. The result-- the result," (here his voice faltered suddenly, and he fixed his eyes for a moment on the picture; when they met my own again they were full of tears)--"the result may be less than this; but still it may be good, it may be GREAT!" he cried with vehemence. "It may hang somewhere, in after years, in goodly company, and keep the artist's memory warm. Think of being known to mankind after some such fashion as this! of hanging here through the slow centuries in the gaze of an altered world; living on and on in the cunning of an eye and hand that are part of the dust of ages, a delight and a law to remote generations; making beauty a force and purity an example!"
"Heaven forbid," I said, smiling, "that I should take the wind out of your sails! But doesn't it occur to you that, besides being strong in his genius, Raphael was happy in a certain good faith of which we have lost the trick? There are people, I know, who deny that his spotless Madonnas are anything more than pretty blondes of that period enhanced by the Raphaelesque touch, which they declare is a profane touch. Be that as it may, people's religious and aesthetic needs went arm in arm, and there was, as I may say, a demand for the Blessed Virgin, visible and adorable, which must have given firmness to the artist's hand. I am afraid there is no demand now."
My companion seemed painfully puzzled; he shivered, as it were, in this chilling blast of scepticism. Then shaking his head with sublime confidence--"There is always a demand!" he cried; "that ineffable type is one of the eternal needs of man's heart; but pious souls long for it in silence, almost in shame. Let it appear, and their faith grows brave. How SHOULD it appear in this corrupt generation? It cannot be made to order. It could, indeed, when the order came, trumpet-toned, from the lips of the Church herself, and was addressed to genius panting with inspiration. But it can spring now only from the soil of passionate labour and culture. Do you really fancy that while, from time to time, a man of complete artistic vision is born into the world, that image can perish? The man who paints it has painted everything. The subject admits of every perfection--form, colour, expression, composition. It can be as simple as you please, and yet as rich; as broad and pure, and yet as full of delicate detail. Think of the chance for flesh in the little naked, nestling child, irradiating divinity; of the chance for drapery in the chaste and ample garment of the mother! think of the great story you compress into that simple theme! Think, above all, of the mother's face and its ineffable suggestiveness, of the mingled burden of joy and trouble, the tenderness turned to worship, and the worship turned to far-seeing pity! Then look at it all in perfect line and lovely colour, breathing truth and beauty and mastery!"
"Anch' io son pittore!" I cried. "Unless I am mistaken, you have a masterpiece on the stocks. If you put all that in, you will do more than Raphael himself did. Let me know when your picture is finished, and wherever in the wide world I may be, I will post back to Florence and pay my respects to--the MADONNA OF THE FUTURE!"
He blushed vividly and gave a heavy sigh, half of protest, half of resignation. "I don't often mention my picture by name. I detest this modem custom of premature publicity. A great work needs silence, privacy, mystery even. And then, do you know, people are so cruel, so frivolous, so unable to imagine a man's wishing to paint a Madonna at this time of day, that I have been laughed at--laughed at, sir!" and his blush deepened to