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Page 30
The Bargello is an ideal museum for the storage of the best things out of
the Middle Ages. It opens out of splendid courtyards and staircases, and
ranges through rooms which have quite a feudal gloom about them; most of
these are hung with bad late tapestries (too late at least for my taste),
so that the gloom is welcome and charming, making even "Gobelins" quite
bearable. I find quite a new man here to admire--Pollaiolo, both painter
and sculptor, one of the school of "passionate anatomists," as I call
them, about the time of Botticelli, I fancy. He has one bust of a young
Florentine which equals Verocchio on the same ground, and charms me even
more. Some of his subjects are done twice over, in paint and bronze: but
he is more really a sculptor, I think, and merely paints his piece into a
picture from its best point of view.
Verocchio's idea of David is charming: he is a saucy fellow who has gone
in for it for the fun of the thing--knew he could bring down a hawk with
his catapult, and therefore why not a Goliath also? If he failed, he
need but cut and run, and everybody would laugh and call him plucky for
doing even that much. So he does it, brings down his big game by good
luck, and stands posing with a sort of irresistible stateliness to suit
the result. He has a laugh something like "little Dick's," only more
full of bubbles, and is saying to himself, "What a hero they all think
me!" He is the merriest of sly-dog hypocrites, and has thin, wiry arms
and a craney neck. He is a bit like Tom Sawyer in character, more ornate
and dramatic than Huckleberry Finn, but quite as much a liar, given a
good cause.
Another thing that has seized me, more for its idea than actual carrying
out, is an unnamed terra-cotta Madonna and Child. He is crushing himself
up against her neck, open-mouthed and terrified, and she spreading long
fingers all over his head and face. My notion of it is that it is the
Godhead taking his first look at life from the human point of view; and
he realizes himself "caught in his own trap," discovering it to be ever
so much worse than it had seemed from an outside view. It is a fine
modern _zeit-geist_ piece of declamation to come out of the rather
over-sweet della Robbia period of art.
There seems to have been a rage at one period for commissioning statues
of David: so Donatello and others just turned to and did what they liked
most in the way of budding youth, stuck a Goliath's head at its feet,
and called it "David." Verocchio is the exception.
We are going to get outside Florence for a week or ten days; it is too
hot to be borne at night after a day of tiring activity. So we go to the
D----s' villa, which they offered us in their absence; it lies about
four miles out, and is on much higher ground: address only your very
immediately next letter there, or it may miss me.
There are hills out there with vineyards among them which draw me into
wishing to be away from towns altogether. Much as I love what is to be
found in this one, I think Heaven meant me to be "truly rural"; which
all falls in, dearest, with what _I_ mean to be! Beloved, how little I
sometimes can say to you! Sometimes my heart can put only silence into
the end of a letter; and with that I let this one go.--Yours, and so
lovingly.
LETTER XXXIII.
Beloved: I had your last letter on Friday: all your letters have come in
their right numbers. I have lost count of mine; but I think seven and two
postcards is the total, which is the same as the numbers of clean and
unclean beasts proportionately represented in the ark.
Up here we are out of the deadliness of the heat, and are thankful for it.
Vineyards and olives brush the eyes between the hard, upright bars of the
cypresses: and Florence below is like a hot bath which we dip into and
come out again. At the Riccardi chapel I found Benozzo Gozzoli, not in
crumbs, but perfectly preserved: a procession of early Florentine youths,
turning into angels when they get to the bay of the window where the altar
once stood. The more I see of them, the greater these early men seem to
me: I shall be afraid to go to Venice soon; Titian will only half satisfy
me, and Tintoretto, I know, will be actively annoying: I shall stay in my
gondola, as your American lady did on her donkey after riding twenty
miles to visit the ruins, of--Carnac, was it not? It is well to have the
courage of one's likings and dislikings, that is the only true culture
(the state obtained by use of a "coulter" or cutter)--I cut many things
severely which, no doubt, are good for other people.
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