\"It is good, then, for our art, Messer Cavalière, that at San Donato, our mother church, we workmen of Murano have our Lady in that old Byzantine type; there is none earlier—nor in all Venice more perfect of its time—and the setting is of marvelous richness and delicacy.\"
\"It is most interesting,\" said the Veronese. \"Sometimes a question has come to me, if an artist cannot do the all , is he most the artist who stops below his limitation or beyond it? A question of the earlier hint, or the later realization.\"
\"Between the mosaic and the painting, perhaps?\" Girolamo questioned, greatly interested.
\"Nay, not between the arts, but of that which is possible to each. It is not a Venetian question. Here all is warmth, color, beauty, joy; here art is the expression of redundancy—it hath lost its symbolism.\"
\"I know only Venice—the Greek and the Venetian types. But I have heard that the Michelangelo was in himself a type?\"
\"He was a prophet,\" the Veronese answered reverently, \"like the great \"I had thought there was none who equaled him in form—that he was even as a sculptor in his painting.\"
\"And it was even so. When I spake of ''''formlessness'''' it was not the less, but the more; as if, before the visions had taken mortal shape, he, being greater than men, saw them as spirits .\"
\"Never before have I talked with one who knew this master,\" said \"Nay, I knew him not, for it was not easy to get speech with him, nor a favor a young man might crave. But once I saw him at his work in San Pietro, where he wrought most furiously and would take no payment—''''for the good of his soul,'''' he said, that he might end his life with a pious work. The night was coming on, and already his candle was fastened to his hat, that he might lose no time. They had brought him a little bread and wine for his evening meal, for often he went not home when the mood of work possessed him; and beside him was a writing of the man Savonarola—this and the Holy Evangel and the ''''Inferno'''' fashioned his thoughts. He lived not long after that, for we were still in Rome when they made for him that great funeral in Santa Croce of Florence, the rumor of which is dear to artist hearts. He was great and lonely, and he knew no joy; there hath been none like him.\"
\"And the Tintoretto, at Santa Maria dell'''' Orto?\"
\"He, too, is a furioso , wonderful in form—and the Michelangelo had not the coloring of our Jacopo. But the terror of the Tintoretto is very terrible and very human. The Michelangelo fills a great gloom with phantasms—they question—and one cannot escape.\"
\"It hath been a morning of delights,\" Girolamo said with grave courtesy when the talk had come to an end. \"I thank the master for this honor.\"
\"Nay,\" answered the knightly Veronese; \"it is I who have received. And more, yet more would I ask. I know not if in this chamber of treasures I may leave the trifle which I came to bring for the bambino?\" he added with hesitation, as he placed upon the table his little inlaid box of baubles and his bunch of spicy flowers. \"Yet it was a promise.\"
And while Girolamo listened in astonishment he told abruptly the story of his meeting with Marina and the little one, unconsciously weaving his thoughts into such a picture as he talked, that Girolamo recognized the inspiration and was already won to plead his cause.
\"This,\" continued the artist, unfolding a letter, \"is the order which hath been sent me by Fra Paolo Sarpi, of the convent of the Servi, a man most wise and of high repute in Venice. ''''The face,'''' this learned friar sayeth, ''''must be full of consolation and one to awaken holy thoughts. And I, being not an artist'''' (which, because he is greater than so many of his craft, he hath the grace to acknowledge!), ''''have no other word to say, save that it shall be noble and most spiritual, as befitteth our religion.'''' And such a face till now, Messer Girolamo Magagnati—so beautiful and holy—I have not found. But now it is a vision sent to me from heaven, quite other than any picture I have ever dreamed, and I will paint no other for this Madonna of the Servi. I also, like the Angelo, would give my holiest work for the good of my soul; for the days of man are numbered, though his blood be warm in his veins like wine! It would be a pious act for the maiden; and if she will most graciously consent, the picture shall be an offering for the altar of the chapel of Consolation in the Servi.\"
\"I will ask her,\" said the father simply, and felt no surprise at what he had granted when he was left alone with his thoughts, for Paolo Cagliari, because of a way he had that men could not resist, already seemed to him a friend; for the rare mingling of knightly grace and artistic enthusiasm, overcoming spasmodically the usual assertiveness of his demeanor, seemed at such moments to mean more than when assumed by those who were never passionate nor brusque, and his very incongruities held a fascination for his friends.