Thoughts on Art and Autobiographical Memoirs of Giovanni Dupre Part 22

"Enough!" the Grand Duke with vexation interrupted me. "These are considerations which might have been discussed, but now the thing has been decreed." And rising, he added, "Good evening,"--which being interpreted into common language, was as much as to say, "Go away; you bore me."

[Sidenote: THE GRAND DUKE DISMISSES ME.]

I bowed and went away. On the stairs I said to myself, "You have done a pretty business. You see how you were dismissed, and with what irritation. You had better have minded your business. What had you to do with this? Did he ask you to give your advice? No; you have your deserts, and will learn better another time." And slowly, slowly I returned home. But none the less I was not dissatisfied with myself for having spoken frankly to the Grand Duke on this matter. I had expressed my true opinion, and I should have felt more regret if I had been silent, inasmuch as I was thoroughly convinced of the utility and propriety of what I had said. Besides, I knew how good the Grand Duke was, and with what attention he had listened to me on other occasions when he interrogated me on questions relating to art in general, or to my own works in particular. But the phrase "decreed" still hammered in my head, and I said to myself, "Very well,--it is decreed; but his decree is not a decree of heaven. We shall see. After all, I have said what it seemed to me just to say, and there is nothing improper in that; and if there was any impropriety, it was on his part in not allowing me to finish. And there is this also," I said--"that colossus in the middle of the Loggia will dwarf all the other statues, and make them of little consequence; so that by an accursed necessity they will have to remove the group of the Rape of the Sabines, and the Perseus, which stand very well there, as well as the Centaur and the Ajax, and all the others along the wall, which are not placed well, whether the David is there or not."

[Sidenote: VISIT OF RAUCH.]

But in the meantime, a fortunate incident gave a new direction to the affair of the removal of the David, and a great weight to my words.

One morning a gentleman came to my studio, who said he wished to see me.

I, who then was accustomed to permit no one to pa.s.s into my private studio, went out to see him. He was tall of person, dignified, and benevolent of aspect; his eyes were blue, and over his handsome forehead his white hair was parted and carried behind the ears in two ma.s.ses, which fell over the collar of his coat. He extended his hand to me, and said--

"For some time I have heard you much spoken of; but as Fame is frequently mendacious, in coming to Florence I wished, first of all, to verify by an examination of your works the truth of all I have heard of you; and as I find them not inferior to your high reputation, I wished to have the pleasure of shaking your hand;" and he then took both my hands in his.

"You are an artist?" I asked.

"Yes," he replied,--"a sculptor."

I wondered who he could be. He spoke Italian admirably, but with a foreign accent.

"Excuse me,--are you living in Rome?"

"Oh no," he answered; "I lived there for thirty years, but now for some time I have been in Berlin. I am Rauch."

I bowed to him, and he embraced me and kissed me, and accompanying me into my private room, we sat down. I shall never forget his quiet conversation, which was calm and full of benevolence. While he was speaking, I went over in my memory the beautiful works of this great German artist,--his fine monument to Frederick the Great, his remarkable statue of Victory, and many others. I recalled the sharp pa.s.sages between him and Bartolini, and without knowing why, I could not help contrasting his gentleness with the caustic vivacity of our master.

Their disagreements have long been over; the peace of the tomb has united them; and now the busts of both stand opposite to each other in the drawing-room of my villa of Lappeggi.

[Sidenote: RAUCH'S VISIT TO THE GRAND DUKE.]

Among other things, we discussed the question of the removal of the David, and its proposed collocation under the Loggia dell'Orgagna. He strongly disapproved of it, and exhorted me to use all my influence (to use his own words) to induce the Grand Duke to alter this decision. I then narrated to him my conversation with the Grand Duke, and the issue of it. He was surprised, and after thinking awhile, said that perhaps there was no ground to despair, and that I ought to speak of it again and to insist. I answered--

"I really cannot do so. You, however, might. Your name, and the friends.h.i.+p of the Grand Duke for you, might perform miracles; and nothing else is needed, as there is already a decree in the way."

"Leave it to me. To-morrow I am invited to dine at Court, and I will manage so that they will speak to me of this; and unless they ask me, I will not let it be known that we have met."

A few days afterwards he returned and told me that he had spoken at length on the subject with the Grand Duke, who did not seem to be annoyed, but on the contrary, listened to him to the end; and then smiling, said that I had advanced the same doubts and objections. He then thought it best to openly confess that we had talked together on the subject. Rauch went away shortly after; but he so well managed the affair, that the Grand Duke thought no more of the removal of the statue to the Loggia, considering the means proper to s.h.i.+eld it from the injuries of the weather. He also sent for me to tell me that Rauch had advised him not to place it under the Loggia, and I remember used these words: "Rauch is entirely of your opinion in regard to the David, and he is a man who, on such a ground, deserves entire confidence; and I wish to say this to you, because it ought to give you pleasure, and because it proves that you were right."

[Sidenote: LETTER FROM RAUCH ABOUT THE DAVID.]

I thanked the Grand Duke for the attention and consideration he had paid to the reasoning of Rauch in regard to the David, as well as for his kindness towards me; and this procured me a dismissal more benignant than the previous one. A short time after, I received a letter from Rauch from Berlin, in which he spoke to me of the David. I showed it to the Grand Duke, who ordered me to leave it with him. But he returned it a few days later, and I have transcribed the pa.s.sage relating to the David:--

"I learn with great pleasure that his Highness the Grand Duke has resolved to leave the statue of David in its place in consequence of the trial made with the plaster cast. But I should like to recommend to his Highness to remove the group of Ajax and Patroclus from its present position, and to arrange a proper place of just proportion and with a good light, to receive worthily this work of sculpture divinely composed and executed by Greek hands.

"BERLIN, _17th December 1854_."

This is the reason why the statue of David was allowed to remain in its place for some twenty years more, and until the fear of the danger which this masterpiece undoubtedly incurred induced the Munic.i.p.ality and the Government to order its removal to the Academy of Fine Arts, where it now stands, but where it is not seen; for if the Government is liberal in spending many millions upon a Palace of Finance in Rome, it feels itself so restricted that it obstinately refuses to spend a few thousands to complete the building which is to harbour the most beautiful sculpture in the world.

[Sidenote: RESTORATION OF THE PORPHYRY TAZZA.]

It was at this time that the Royal Manufactory of Pietre Dure finished the restoration of the famous Tazza of porphyry--a most precious and rare object, which, from the time of Cosimo I., to whom Pope Clement VII. presented it, had remained hidden in the store-rooms, and in great part mutilated. Now, as I have said, owing to the great care and intelligence of the directors, united to the goodwill and money of the Prince, it had been restored to its pristine beauty and perfection. In order that this work, which is also an historical record, should be properly exhibited by itself in the Royal Gallery, the Grand Duke desired that it should be placed on a base with a new and rich design, which should at once be a completion and adornment of the Tazza itself, and also offer an occasion for a work of sculpture. In matters of this kind this excellent Prince was intelligent, earnestly entered into them, and gave full liberty to the artist who wrought for him; and this work he would have carried out had not the revolution interrupted it. But let us not be in a hurry.

I imagined a base of a form naturally cylindrical, with ovolo mouldings.

That from below the base of the Tazza descended in a vertical line to the base, which stood upon a quadrate plinth. Between the base and the Tazza--that is to say, on the first cylinder--was a complete history of the Tazza, by means of symbolical figures which represented its origin, fortunes, and final destination. Perhaps this Tazza once embellished the immense gardens of the ancient Pharaohs; and when their empire was overthrown by the power of Rome, all things great and precious which the genius and power of the nation had produced were either destroyed or carried off. This Tazza, as well as the famous obelisks, were brought to Rome. On the fall of the Roman Empire, the Tazza and obelisks remained, and the former was presented by Clement VII., together with other precious objects (among which was the Venus--so called--de' Medici), to Cosimo I. After the Medician domination was over, the Tazza remained forgotten, until it was restored, as I have said, and placed in the Pitti Gallery, where it now stands.

[Sidenote: THE BASE OF THIS TAZZA.]

To express artistically this history, I imagined four groups, representing Thebes with the genius of mechanics, Imperial Rome with the genius of conquest, Papal Rome with the genius of religion, and Tuscany with the genius of art. _Thebes_ is in a sad and thoughtful att.i.tude, with a simple vest without mantle, and has on his head the Egyptian fillet. He holds by the hand his genius, who frowning and unwillingly follows after him and looks backward, recalling "il tempo felice nella miseria." In his hand he carries a pair of broken compa.s.ses, to denote his lost empire over science and art; and at his feet is a truncated palm, around which is coiled and sleeping the sacred serpent. _Imperial Rome_ stands in a proud att.i.tude, resting her right hand on the consular fasces, and the left hand gathering up her mantle, which falls to her feet. She is crowned with oak-leaves, and above her head is a lion-skin in the shape of a helmet. Her genius, with a bold step and fierce aspect, grasps a lance and a torch, implements of destruction and emblems of iron and fire. _Papal Rome_ stands still, with three crowns on her head, from which the fillets descend upon her breast. She is dressed in the pontifical robes, and holds closed upon her breast the Bible. Her genius, dressed in a Levite tunic, and with one hand holding a cross and the other placed upon his breast, in sign of faith and humility, treads on a serpent, the symbol of error, which even from the earliest time insinuated itself into the Church. _Tuscany_ is in the act of walking. On the diadem which crowns her head are engraved the Tiber and the Magra, the rivers which bounded ancient Etruria. She holds the royal sceptre in her right hand, and in her left the palladium of the arts. Her genius is crowned with laurels, and leans upon a _cippus_, on which are disposed the implements which are used in the arts of poetry, music, sculpture, painting, and architecture, bound together by a branch of olive, to denote that the arts are only developed during peace.

[Sidenote: DESCRIPTION OF THE BASE.]

This conception, which was clearly expressed in a sketch, met with the approbation of the sovereign, and he ordered me to model it on a large scale, to be cast in bronze. Afterwards, it seeming to me that the dark hue of bronze, added to the shadow cast by the Tazza itself, would injure the effect of my work, I sought and obtained permission to execute it in marble; and I was at once paid for my model. In the meantime, in consequence of rich work of great delicacy, it became necessary to seek for some marble which should be hard, white, and beautiful; for this work differed from others in having no back view, in which ordinarily the imperfections of the marble can be hidden, but was exposed on all sides, in consequence of its round form, every point of view being a princ.i.p.al one. Hence there was a difficulty in finding a block entirely free from blemish, and having no spots to injure the view of any important part. The search for this consumed much time; and when at last I had a clear hope that I had found it, the revolution first suspended, and afterwards ended, everything. I shall return to this subject later, and at present I shall go on.

[Sidenote: CHAPEL OF THE MADONNA DEL SOCCORSO.]

At the same time the Grand Duke ordered me to decorate a chapel of the Madonna del Soccorso at Leghorn. Of this, which is the first on the left on entering the church, he had become the patron. The chapel was to represent the entire life of the Madonna. I made a large sketch, in relief, of the chapel and the ornaments of the altar, with statues and pictures on the side walls. In the great lunette over the altar, I designed and coloured the Annunciation of the Virgin. In the empty s.p.a.ces between the arc of the lunette and the side walls, which are trapezic like half pedestals, were angels painted upon a mosaic ground of gold, and holding spread out rolls of papyrus, on which were written the prophecies of the Virgin and of Christ. The altars I made with columns and round arches, with a straight base, after the style of the _Quattrocentisti_. The table of the altar represented the return from Calvary of the Virgin with St John. Behind, in the distance, were seen the crosses, and the angels of the Pa.s.sion weeping and flying from the sorrowful scene. This also I designed and coloured in my sketch. Under the table, and through a perforated screen, was seen the dead body of Christ, illuminated by hidden lights. The statues in the niches of the lateral walls were to be St John and St Luke, as those who had specially written about the Virgin. In the two lateral walls above the niches, there were to be two pictures representing the Nativity and the Death; and these compositions, as well as the sketches of the two statues of John and Luke, I did not carry out, relying upon the intelligence of the Grand Duke, which would enable him to judge from what I did do.

[Sidenote: WORKS ORDERED BY THE GRAND DUKE.]

Besides this complex and important work--the Scriptural portion of which I was to execute, while in regard to the paintings and architecture, I was a.s.signed the post of director, with an authority to select the artists,--besides this, I say, he ordered of me the monuments to the Grand Duke Ferdinand III. his father, to his brother, his sister, and various of his children, all to be erected in the chapel called the "Vergine Ben Tornata," which is in San Lorenzo, where at present is to be seen the monument of the Grand d.u.c.h.ess Maria Carolina. And all these monuments I designed, and made sketches of them, which were approved by his Highness; and a royal rescript was made to me, signed by the President of the Ministry, Prince Andrea Corsini, ordering me to execute these works. But the 27th of April 1859, foreseen by all, unexpected by few, arrived and overthrew everything.

From all these statements, two facts are clear; the first, that the Grand Duke esteemed me--and the second, that I knew absolutely nothing of the revolutionary movement of these days: and this increased the not small number of persons, who held me in dislike, owing to the favour which I enjoyed at Court, and owing to the works which were intrusted to me. These persons, whom I must not call artists, showed themselves, both then and after, to be sorely deficient in intellect and heart, in blaming me for my affection and grat.i.tude towards the Prince, who treated me so beneficently.

I have said that the events of the 27th of April were quite unexpected by me. But how was it possible for me to know anything, when those who, above all, were so intimately acquainted with what was going on, kept me at a distance, and some, as for instance the Marquis Gualterio, who usually frequented my studio, withdrew entirely from me? Besides, how many there were who were as much in the dark as I, though they were in a position that almost obliged them not to be ignorant! I remember that the Sardinian Minister, Buoncompagni, who lived in the Pennetti Palace in Borgo Pinti, gave every week (I do not remember on what day) a reception or party at which I met and conversed, with the utmost frankness, with the Advocate Vincenzo Salvagnoli, Giovanni Balda.s.seroni, then Minister, the Marquis Lajatico, the Marchioness Ginori, as well as the Princess Conti and others, and all of us were ignorant.

[Sidenote: DEMONSTRATION AGAINST GRAND DUKE.]

It was only on Easter morning (I believe it was the _antivigilia_ of the revolution) that I heard that something was to occur, but vaguely; there was nothing positive or precise. There was to be some sort of demonstration or manifestation to induce the Grand Duke to enter into a league with Piedmont for the war of independence. But afterwards, rea.s.sured by one who ought to have known more than I, that it was really nothing, but mere idle talk, and childish vague reports, I believed him.

And then? The day after, I met Count Scipione Borghesi, my excellent friend, who, as soon as he saw me, said--

"Well, I have just arrived from Siena; and to what point have we come?"

"About what?" I answered.

"About our request--about our demonstration, which is already organised.

It should take place to-day. What! you know nothing about it?"

"I know nothing--and there is nothing to know; trust me, for I ought to know something about it," I answered, a.s.suming rather an air of authority.

My friend was a little disturbed at first; and then smiling, he added--

"It may be as you say. Have you any commands for Siena?"

"No, thank you. Are you going back to Siena soon?"

"Eh? Who knows?--to-morrow--the day after to-morrow--as may be."

"Good-bye, then," I said, and we shook hands.