Thoughts on Art and Autobiographical Memoirs of Giovanni Dupre Part 9

[Sidenote: AN AMATEUR CRITIC.]

I have promised from the beginning to tell the truth, and I will tell it, with the help of G.o.d, even to the end. I must here confess that I acted like a hypocrite. Instead of answering, "It does not seem so to me, but I will measure it to a.s.sure myself," I told him that he was right, and I was much obliged to him; and more, when he favoured me with a second visit, I said to him as soon as he came in--

"Look at the ear."

"Have you compared it with the model?"

"Yes."

"Have you moved it a little more forward?"

"Eh? what do you think?"

"Ah! now it is right."

When I think of this, now that I am old, it seems to me a very bad thing, a most vile lie, under which (may G.o.d pardon me!) was concealed perhaps a secret sentiment of vengeance; and yet that lie made him a friend to me, and so he remained as long as he lived. But thenceforward I have always guarded myself from lying, and above all, from making game of any one who trusted me.

[Sidenote: GREAT ARTIST--MISERABLE IMPOSTOR.]

I return to the event of the exhibition. My name was on the lips of all; some praised me to the skies, some despised me as the most vulgar of impostors. Bartolini, Pampaloni, and Santarelli openly a.s.sumed my defence. The Grand Duke asked Giuseppe Sabatelli about it, and he a.s.sured him that the statue was really modelled, and not cast from life, and that he had been an eyewitness of my work, staying in my studio every morning, and had seen me working at it. I was exposed to a tempest of words and looks diametrically opposed to each other. The meaning of the two parties might be rendered by precisely these words, "great artist," "miserable impostor." My poor wife consoled me by saying--

"Do not be troubled, do not listen to them. They are irritated because you have done better than they. They will talk and talk, and at last they will hold their peace."

"Yes, my dear Marina, they will hold their peace; but in the meantime, what an injury they have done me! A certain person perhaps would have given me an order for the statue, as I know; but after all this absurd and evil-minded chattering, he mistrusts me, and will now do nothing, and I am crushed and overcome by the very thing which ought to have given me reputation and cleared my path for me. In the same way that I have made this statue, I know that I can make another. The will to do it is not wanting, but how can I bear the expense. My earnings, as I well see, are not sufficient to support the family, and to pay the model, the rent of the studio and the casting, and to buy what is necessary for the studio. Besides, I tell you, dearest, that I cannot allow you to fatigue yourself with so much work. You labour all day and all the evening, you have a baby to nurse, you get little repose at night, and do you think that I can allow you thus to wear your strength out? I hoped to enable you to get some rest, and to lead an easier life, and I thought that I saw before us, after I had breathed the last breath of life into Abel, the beginning of our intellectual and loving life; and now I find that these are and were only vain hopes."

"Do not be troubled, Nanni," said that blessed woman, and she said nothing more, only her eyes were swimming with tears.

[Sidenote: COUNT DEL BENINO.]

In the meantime, without knowing it, I had a friend, in truth a real friend and benefactor, in Count F. del Benino. Count Benino was an old man of n.o.ble and ancient family, and a bachelor, who lived in his own palace in the Borgognissanti, and in precisely that on the Lung'Arno which was designed by the able architect and engineer Professor Commendatore Giuseppe Poggi. Count Benino had taken a liking to me when I was a little boy in Sani's shop. He was a great and very intelligent lover of the Fine Arts, and everything relating to them, and was extremely interested that his house should be a model of good taste, from the modest furniture of the entrance-hall up to his own private cabinet, which was a wonder to behold. The walls were surrounded by bookcases of solid mahogany, his study desk was also of mahogany; the chairs were covered with polished leather, and the floors were of inlaid wood and polished with wax. The books on the shelves were bound simply in leather in the English style. Upon his desk, among his books and papers, were various objects of great value--as, for instance, an antique bronze inkstand ornamented with figures and arabesques, ivory paper-cutters with richly carved handles, portraits in miniature of persons dear to him, and little busts in bronze and figures in ivory set on the cases of the desk, which were divided into compartments to hold his papers. In person he was tall and erect, thin, and with full colour, blue eyes, and perfectly white hair. He spoke with invariable urbanity and facility, not infrequently with pungency, but always with proper restraint. He dressed very carefully, and he liked the conversation and sought the friends.h.i.+p of artists. From the time when I was a youth in Sani's shop and worked for him as a wood-carver, and afterwards while I was working by myself in the Borghese stable, up to the time when I was making the Abel, when he was one of the subscribers to my pet.i.tion for a.s.sistance, and indeed the largest of them, he never lost sight of me, but often came to pay me a visit while I was modelling Abel, and showed himself delighted with it, and sure of my future; and now, perceiving this scandalous plot to put me down, he was indignant. He came to seek me out just at the moment when I was thoroughly discouraged and knew not to what saint to recommend myself, and after saluting me with his customary "Sor Giovanni, che fa?" ("How are you, Mr Giovanni?"), seated himself on the only seat I possessed, and seeing that I was oppressed with thought, though I endeavoured to put a gay face on it, said to me--

[Sidenote: COUNT DEL BENINO'S KINDNESS.]

[Sidenote: GENEROSITY OF COUNT DEL BENINO.]

"Oh, don't give up! Courage! Don't you hear how these donkeys bray? What they want is a good cudgel and a hearty beating. Don't think about it. I know what I am talking about. I frequent the studios, and I see and feel what a disloyal and foolish war they are waging. But do not give them time. You must ward off the blow and give them two back. In one studio I heard a fellow, whom I will not stop to name (but names are of little importance)--I heard a fellow, who, with a contemptuous laugh, said, 'The Abel he could cast, because the figure is lying down, but a standing figure he cannot cast. He will not make one this year, nor any other year.' And all the others laughed. This happened only a few moments ago, and I have come now to tell you that it is your duty to silence these snarling curs. So, dear Sor Giovanni, you must make another statue, and this time a standing figure; and ... now be silent a moment. I imagine very well what you will say. I understand it all, and I say to you, Quit this studio, which is not fit to make a standing figure in, and go and look for another at once. Order the stands which you require, think out your statue, and I will pay whatever sum is necessary. You know where I live; come there, and you will find a register on which you must write down the sum that you need, and put your signature to it; and when you have orders and work to do, which will not fail to come, and have a surplus of money, you may pay me back the money that I advance. Say nothing. I do not wish to be thanked,--first of all, because I am not making you a present, and then because I have my own satisfaction out of the proposition I make to you.

What I want is to laugh in the face of these rascals who are now deriding you, and me too, because I a.s.sert that I have seen you at your work. So you see that I, too, am an interested party. Without spending a penny, we have an advantage, which, with all my money, I could not otherwise get. And now, dear Sor Giovanni, _a rivederla_. I shall expect you, to give you the money you need. Lose no time, keep up your spirits, and think of me as your very sincere friend.

CHAPTER VII.

THE GRAND d.u.c.h.eSS MARIA OF RUSSIA AND THE COMMISSION FOR THE CAIN AND ABEL--THE PRINCE OF LEUCHTENBERG AND A PLATE OF CAVIALE AT CAFFe DONEY--AN UNUSUAL AMUs.e.m.e.nT THAT DID SOME GOOD--AGAIN THE GENEROSITY OF COUNT DEL BENINO--BARTOLINI'S HUNCHBACK, AND IN CONSEQUENCE A RETURN TO THE ABEL--BARTOLINI GETS ANGRY WITH ME--EXAMINATION OF THE MATERIALISTIC OR REALISTIC IN ART--EFFECTS OF THE REALISTIC--DO NOT HAVE GIRLS ALONE BY THEMSELVES FOR MODELS--SUBSCRIPTION GOT UP BY THE SIENESE TO HAVE MY ABEL EXECUTED IN MARBLE--A NEW WAY OF CURING A COUGH--SIGNORA LETIZIA'S RECEIPT, WHO SENT IT AND PAID FOR IT HERSELF--ONE MUST NEVER OFFER WORKS GRATIS, FOR THEY ARE NOT ACCEPTED--THE GRAND d.u.c.h.eSS MARIE ANTOINETTA ORDERS THE "GIOTTO" FOR THE UFFIZI--HAS ABEL KILLED CAIN?--STATUE OF PIUS II.--A FOOLISH OPINION AND IMPERTINENT ANSWER--I DEFY THE LAW THAT PROHIBITS EATING.

I ran home with all speed, elated and full of enthusiasm, to tell my wife of the charming proposal of Count Benino. My wife, poor soul, could not understand all this delight, this vehemence and excitement, in praise of that kind gentleman; and without saying it, she made me understand that she should have greatly preferred my continuing as a wood-carver, without troubling myself about an art which hitherto had only given me disappointment and worry. With her eyes she seemed to say to me, "Don't bother yourself, Nanni, about it."

I looked about to find a studio, and took one in the Niccolini buildings in Via Tedesca, now Via n.a.z.ionale. I ordered two large modelling-stands--one for the living model, the other for the statue in clay. "A standing statue he will not make," they said; but I will make it, and in movement too. The idea of Cain came at once into my head.

Cain, the first homicide, fratricide! A fierce and tremendous subject, and one of great difficulty. I made the sketch, and it seemed to me that I had divined the movement and expression. Among the artists, it was soon known that I had taken a new studio to make another statue. Those who had laughed at first, laughed no longer. My friends encouraged me, and added fuel to the fire. I had also some offers for the Abel--insufficient if you will, but enough to encourage me. Among the others I accepted that of Signor Lorenzo Mariotti, an agent of the Russian Government, who lived in his own house in the Piazza Pitti. He came to see me, and said that he should like to order the statue of Abel, whenever I would make it, for what it cost me, and when it was done he would help me to sell it. The expenses were calculated at 800 _scudi_; and he offered me this price, with the understanding that whatever sum it was sold for above the 800 _scudi_, should be divided between us.

[Sidenote: MODEL OF CAIN.]

The marble was procured, and I was already modelling with ardour the statue of Cain. Fortunately the Grand d.u.c.h.ess Maria of Russia, daughter of the Emperor Nicholas, was pa.s.sing through Florence. She had already heard the discussion, _pro_ and _con_, which this statue had raised. She wished to see it, and was so well pleased by it that she did not conceal her delight. She was in company with her husband, the Prince of Leuchtenberg. They went into my private studio and saw the Cain, only just begun. She exchanged some words with the Prince, and he was much pleased, and embraced me. Then the Grand d.u.c.h.ess, pressing my hand, said, "The Abel and the Cain are mine." Then they departed. When I went home and told the good news to my wife, it seemed as if she had a little more faith in what I was so convinced of--viz., my future career as an artist.

[Sidenote: PRINCE OF LEUCHTENBERG.]

For the rest of the time that the august Prince and Princess were in Florence, he never omitted to pa.s.s some half-hours of the morning in my studio, because he liked so much to see me at work. He spoke Italian extremely well, and it amused him to talk with my model Antonio Petrai on various subjects; and as he was such a strong and well-made fellow, one day he asked him if he would like to measure his strength at fisticuffs with any one; and Petrai--who knew well enough who it was who asked the question, and was embarra.s.sed about making a proper reply--after much hesitation could only say "Aho!" upon which the Prince laughed heartily and gave him something.

Who would have thought that such a handsome youth, so tall, squarely built, and so spirited, would have died only a few years later of an insidious disease? He was the son of Prince Beauharnais, Viceroy of Italy in the troublous times of Napoleon I. One day he came and carried me away from the studio, because he wished to see with me the statues which ornament our Piazza della Signoria and the Loggia of Orsanmichele; but first he would go to Doney's to breakfast. As soon as we were seated, he ordered _caviale_. "_Caviale_!" answered the waiter, "we have none." "Bring _caviale_," said the Prince, sharply; but before the servant could reply he made a sign to the master, who was at the desk, and he knocked loudly on the marble to call the waiter back. After a little while a magnificent plate of _caviale_ was served. I wish to note this anecdote, as it depicts the courteousness, affability, and popularity of this Prince, who, though he had married the daughter of the Emperor of Russia, had not forgotten that he was born and educated in Italy.

[Sidenote: COMMISSION FOR CAIN AND ABEL.]

In the meantime, Mariotti, by order of the Grand d.u.c.h.ess, made the contract for the two statues, Cain and Abel, and the price fixed for the Abel was 1500 _scudi_, and for the Cain 2000 _scudi_. The contract which I had made with Mariotti was torn up, and I gave him out of my first receipts the sum he had given me; but as to the remainder, the 700 _scudi_, which was to be divided between us, he would not receive it, saying that the Grand d.u.c.h.ess had already paid him enough. And this, for Mariotti, whom they call _mangia-russi_, was a good action.

In the meantime the good Count del Benino lent me a considerable sum of money to pay the rent of my studio, for the modelling stands and tools, and for the models, as also the daily sum I carried home for household expenses. This was all registered in a book, with the sums, the dates, and my name signed in receipt. And all this together came to the amount of about 100 _scudi_.

Now that I had two good commissions, and the relative advances on them, I went to Palazzo del Benino, this time to pay rather than receive, and therefore with lighter and freer spirit. I was anxious to cancel this debt, which weighed upon my mind like an incubus, which I had felt was increased and renewed every time I was forced by necessity to ask for more money; and poor Del Benino, who perceived my reluctance, encouraged me, and made me feel that it was indifferent to him whether he gave more or less, trying to distract me while he counted out the money. But this time, as I have said, I was gay and light-hearted, and caused my name to be announced by the servant in a loud voice: in short, I was in bearing and in words slightly proud.

[Sidenote: I OFFER TO REPAY DEL BENINO.]

The Count was seated writing in his usual place. He put down his pen, and staring at me with his blue eyes, said, "Sor Giovanni, welcome! I am delighted to see you. What charming thing have you to tell me? Yes, what can you tell me that I do not already know? To begin, then, I congratulate you truly--truly. You see, this is for me a new satisfaction: you cannot imagine the pleasure I feel in now seeing certain faces cloudy and sad which a few months ago were bursting with laughter. And I divert myself very much playing the ignoramus with them, saying, 'Then it appears that this youth is going straight ahead, _per Bacco!_' The Abel! that stands for what it is--I mean to say, that if the artist has cast it from life, as you say, the Grand d.u.c.h.ess Maria has caught a fine crab; but the Cain! that is scarcely begun, and they tell me that she has seen it only in the clay, and liked it, and given the order for it, and other like things; for the desire to torment them does not fail me, and they were much teased and molested by my bitter words, which I pretended not to mean and ran on. So I have diverted myself, and so I will divert myself. Now, then, again I congratulate you. And now tell me if I can do anything for you. I am at your service."

"Signor Conte, I have come to repay the money which you have lent me, with so much generosity and kindness, to enable me to make my new model of Cain, which, G.o.d be thanked, has so much pleased the Grand d.u.c.h.ess.

If I had not already begun this, she could not have seen it; and who knows if she would have taken the risk to order even the Abel? I feel, but cannot express all the importance of your valuable aid. This aid, so timely, has been for me a second life, without which, who knows what would have become of me, discouraged, despised, and probably deserted by those who now cry out, 'Beautiful, beautiful!' Here am I, then, to thank you cordially, and to return the money I have borrowed." While I was speaking the Count gradually lost that gay and lively expression which was habitual to him, and at my last words looked at me with an expression of seriousness and regret that I knew not how to interpret.

Then he said--

[Sidenote: COUNT DEL BENINO REFUSES REPAYMENT.]

"There is time enough for this; don't be in such a hurry. This is only the beginning; a thousand things may occur, and it will do you no harm to have a little money in the house. On the contrary, it may be convenient. Now think of study and your reputation; and to pay your debt to me there is time enough."

"Listen, Signor Conte: I have come here on purpose, and have brought the money. I do not need it for the present. Let me pay this material debt; that other great moral substantial debt, the infinite good you have done me, I can never repay, and never should wish to." The Count grew even more earnest and serious. He held the paper of our accounts mechanically in his hand, and tried to prove to me that there was time enough, and that I should keep the money; but seeing that I insisted, and held out my hand for the papers to see the sum due, drew it back with vivacity, and with flas.h.i.+ng eyes said to me--

"Oh, leave me, dear Sor Giovanni, this satisfaction."

He tore up the paper and threw it in the basket. I was mortified, and had half a mind to be offended, but the kind expressions of this excellent man prevailed. He took my hand and pressed it between his, saying--

"Don't take it amiss, but leave me the consolation that I have been able to a.s.sist, even in the least degree, in the sale of your work--as you say, opened for you a future which I hope may prove full of honours.

And moreover, you must know that it has always been my firm intention to a.s.sist you until the road was open and easy before you. I did not at once open my mind to you, because then, perhaps, you would not have accepted the offer; therefore I said, you will sign the contract,--and in good time you will pay. Now you have really paid me, because that small sum of money has secured your future and given me a great satisfaction."

[Sidenote: IDEALISTS AND ACADEMICIANS.]

It is necessary now for me to touch upon a question vital to art, and which was being agitated just at the time I was modelling the Abel. This work served to inflame it, and to encourage as much one side as the other--that is, either the idealists or the academicians in opposition to Bartolini, who, while he was not naturalistic in the strict sense of the word, proposed to introduce this principle into his teaching by bold innovations. It is necessary for me to speak of this, inasmuch as this dispute and my statue served as the target for the shots of one as well as the other parties, and had the effect of estranging Bartolini from me--although, as we shall see later, it was another and less justifiable cause that made the great sculptor indignant with me.

When Stefano Ricci, Master of Sculpture in the Royal Academy, died, it was wisely decided to call Lorenzo Bartolini to his place (this was a little before I modelled the Abel), and Bartolini took possession of the school with the air of a conqueror. Various were the causes for his extremely overbearing conduct. First, the opposition his demands encountered on the part of the President and others of the Academy; then his before-mentioned principles of reform, diametrically opposed to those now taught in the school; also, finally, the heated political and religious opinions, which were discussed with little charity on either side. He altered everything, theories and systems. The position of his a.s.sistant, Professor Costoli, was unpleasant; but he was obliged to remain. He prohibited all study from statues, and restricted the whole system of teaching to an imitation only of nature; and he pushed this principle so far, that he introduced a hunchback into the school and made the young students copy him. This daring novelty raised a shout of indignation: they cried out against the profanation of the school, of the sacred principles of the beautiful, &c.; said that he was ignorant of his duties as master, and that he misled the youths, extinguis.h.i.+ng in them the love of the beautiful by the study of deformity; and many other accusations of this agreeable sort, in a freer and more pointed style than mine.

[Sidenote: IMITATION OF NATURE--THE HUNCHBACK.]