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Page 82
Only one person was out of tune with the general feeling. This was
Lucile Sherman. She returned a polite note in reply to that which Mrs.
Douglas had at once sent her containing information of her brother's
engagement to Barbara. In it she wrote that her friends had very
suddenly decided to leave Venice for the Tyrol, and she must be content
to go with them without even coming to say good-by and to offer, in
person, her congratulations. Mrs. Douglas at first thought of going to
her, if but for a moment; then decided that perhaps it would be best to
let it be as she had so evidently chosen.
In a few days they also left Venice,--for Milan, stopping on the way for
a day or two at Padua. They were to visit this city chiefly for the
purpose of seeing Giotto's frescoes in the Arena Chapel, and Mantegna's
in the Eremitani, although, as Mr. Sumner said, the gray old city is
well worth a visit for many other reasons. The antiquity of its origin,
which its citizens are proud to refer to Antenor, the mythical King of
Troy, accounts for the thoroughly venerable appearance of some quarters.
It is difficult, however, to believe that it was ever the wealthiest
city in upper Italy, as it is reported to have been under the reign of
Augustus. During the Middle Ages it was one of the most famous of
European seats of learning. Dante spent several years in Padua after his
banishment from Florence, and Petrarch once lived here. All these things
had been talked over before they alighted at the station, and, driving
through one of the gates of the city, went to their hotel.
All were eager to see whatever there was of interest. As it would be
best to wait until morning for looking at the pictures, they at once set
forth and walked along the narrow streets lined with arcades, and
through grassy Il Prato, with its fourscore and more statues of Padua's
famous men ranged between the trees. They saw the traditional house of
Petrarch, and that of Dante, in front of which stands a large medi�val
sarcophagus reported to contain the bones of King Antenor, who,
according to the poet Virgil, founded the city. They admired the
churches, from several of which clusters of Byzantine domes rise grandly
against the sky, noted the order, the quiet, that now reigns throughout
the streets, and talked of the fierce, horrible warfare that had
centuries ago raged there.
The next morning they spent among Giotto's frescoes, over thirty of
which literally cover the walls of the Arena Chapel. The return to the
work of the early fourteenth century, after months spent in study of the
High Renaissance, was like an exchange of blazing noon sunshine for the
first soft, sweet light that heralds the coming dawn. They were
surprised at the freshness and purity of color and at the truth and
force of expression. They had forgotten that old Giotto could paint so
well. They found it easy now to understand in the artist that which at
first had been difficult.
"Do you not think that Dante sometimes came here and sat while Giotto
was painting?" by and by asked Margery, in an almost reverent voice.
"I do not doubt it," replied Mrs. Douglas. "Tradition tells us that
they were great friends, and that when here together in Padua they lived
in the same house. I always think of Giotto as possessing a jovial
temperament, and as being full of bright thoughts. He must have been a
great comfort to the poor unhappy poet. Without doubt they often walked
together to this chapel; and while Giotto was upon the scaffolding, busy
with his Bible stories, Dante would sit here, brooding over his
misfortunes; or, perhaps, weaving some of his great thoughts into
sublime poetry."
Afterward they went to the Eremitani to see Mantegna's frescoes, and
thought they could see in the noble work of this old Paduan master what
Giotto might have done had he lived a century or more later.
Mr. Sumner, however, said that he was sure that Giotto, with his
temperament, could never have wrought detail with such exactness and
refinement as did Mantegna--but also, that Giotto's color would always
have been far better than Mantegna's. The likeness between the two
artists is the intense desire of each to render expression of thought
and feeling.
The following day, on their way from Padua to Milan, they were so
fortunate as to be all in the same compartment, and as their train
rushed on, their conversation turned upon Leonardo da Vinci, whose
works in Milan they were longing to see.
During their stay in Florence they had read much about this great
artist, and Mr. Sumner now suggested that each tell something he had
learned concerning him.
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