Knights of Art; stories of the Italian painters Part 5

'Ah, he is such a little one, dear heart,' Lucrezia answered gaily. 'We will call him Filippino, and then there can be no mistake.'

There was no more need now to seek for pleasures out of doors. Filippo painted his pictures and lived his happy home life without seeking any more adventures. His Madonnas grew ever more beautiful, for they were all touched with the beauty that shone from Lucrezia's fair face, and the Infant Christ had ever the smile and the curly golden hair of the baby Filippino.

And by and by a little daughter came to gladden their hearts, and then indeed their cup of joy was full.

'What name shall we give the little maid?' said Filippo.

'Methought thou wouldst have it Lucrezia,' answered the mother.

'There is but one Lucrezia in all the world for me,' he said. 'None other but thee shall bear that name.'

As they talked a knock sounded at the door, and presently the favourite pupil, Sandro, looked in. There was a shout of joy from little Filippino, and the young man lifted the child in his arms and smiled with the look of one who loves children.

'Come, Sandro, and see the little new flower,' said Filippo. 'Is she not as fair as the roses which thou dost so love to paint?'

Then, as the young man looked with interest at the tiny face, Filippo clapped him on the shoulder.

'I have it!' he cried. 'She shall be called after thee, Alessandra. Some day she will be proud to think that she bears thy name.'

For already Filippo knew that this pupil of his would ere long wake the world to new wonder.

The only clouds that hid the suns.h.i.+ne of Lucrezia's life was when Filippo was obliged to leave her for a while and paint his pictures in other towns. She always grew sad when his work in Florence drew to a close, for she never knew where his next work might lie.

'Well,' said Filippo one night as he returned home and caught up little Filippino in his arms, 'the picture for the nuns of San Ambrogio is finished at last! Truly they have saints and angels enough this time--rows upon rows of sweet faces and white lilies. And the sweetest face of all is thine, Saint Lucy, kneeling in front with thy hand beneath the chin of this young cherub.'

'Is it indeed finished so soon?' asked Lucrezia, a wistful note creeping into her voice.

'Ay, and to-morrow I must away to Spoleto to begin my work at the Chapel of Our Lady. But look not so sad, dear heart; before three months are past, by the time the grapes are gathered, I will return.'

But it was sad work parting, though it might only be for three months, and even her little son could not make his mother smile, though he drew wonderful pictures for her of birds and beasts, and told her he meant to be a great painter like his father when he grew up.

Next day Filippo started, and with him went his good friend Fra Diamante.

'Fare thee well, Filippo. Take good care of him, friend Diamante,' cried Lucrezia; and she stood watching until their figures disappeared at the end of the long white road, and then went inside to wait patiently for their return.

The summer days pa.s.sed slowly by. The cheeks of the peaches grew soft and pink under the kiss of the sun, the figs showed ripe and purple beneath the green leaves, and the grapes hung in great transparent cl.u.s.ters of purple and gold from the vines that swung between the poplar-trees. Then came the merry days of vintage, and the juice was pressed out of the ripe grapes.

'Now he will come back,' said Lucrezia, 'for he said "by the time the grapes are gathered I will return."'

The days went slowly by, and every evening she stood in the loggia and gazed across the hills. Then she would point out the long white road to little Filippino.

'Thy father will come along that road ere long,' she said, and joy sang in her voice.

Then one evening as she watched as usual her heart beat quickly. Surely that figure riding so slowly along was Fra Diamante? But where was Filippo, and why did his friend ride so slowly?

When he came near and entered the house she looked into his face, and all the joy faded from her eyes.

'You need not tell me,' she cried; 'I know that Filippo is dead.'

It was but too true. The faithful friend had brought the sad news himself. No one could tell how Filippo had died. A few short hours of pain and then all was over. Some talked of poison. But who could tell?

There had just been time to send his farewell to Lucrezia, and to pray his friend to take charge of little Filippino.

So, as she listened, joy died out of Lucrezia's life. Spring might come again, and summer suns.h.i.+ne make others glad, but for her it would be ever cold, bleak winter. For never more should her heart grow warm in the suns.h.i.+ne of Filippo's smile--that suns.h.i.+ne which had made every one love him, in spite of his faults, ever since he ran about the streets, a little ragged boy, in the old city of Florence.

SANDRO BOTTICELLI

We must now go back to the days when Fra Filippo Lippi painted his pictures and so brought fame to the Carmine Convent.

There was at that time in Florence a good citizen called Mariano Filipepi, an honest, well-to-do man, who had several sons. These sons were all taught carefully and well trained to do each the work he chose. But the fourth son, Alessandro, or Sandro as he was called, was a great trial to his father. He would settle to no trade or calling. Restless and uncertain, he turned from one thing to another. At one time he would work with all his might, and then again become as idle and fitful as the summer breeze. He could learn well and quickly when he chose, but then there were so few things that he did choose to learn. Music he loved, and he knew every song of the birds, and anything connected with flowers was a special joy to him. No one knew better than he how the different kinds of roses grew, and how the lilies hung upon their stalks.

'And what, I should like to know, is going to be the use of all this,' the good father would say impatiently, 'as long as thou takest no pains to read and write and do thy sums? What am I to do with such a boy, I wonder?'

Then in despair the poor man decided to send Sandro to a neighbour's workshop, to see if perhaps his hands would work better than his head.

The name of this neighbour was Botticelli, and he was a goldsmith, and a very excellent master of his art. He agreed to receive Sandro as his pupil, so it happened that the boy was called by his master's name, and was known ever after as Sandro Botticelli.

Sandro worked for some time with his master, and quickly learned to draw designs for the goldsmith's work.

In those days painters and goldsmiths worked a great deal together, and Sandro often saw designs for pictures and listened to the talk of the artists who came to his master's shop. Gradually, as he looked and listened, his mind was made up. He would become a painter. All his restless longings and day dreams turned to this. All the music that floated in the air as he listened to the birds' song, the gentle dancing motion of the wind among the trees, all the colours of the flowers, and the graceful twinings of the rose-stems--all these he would catch and weave into his pictures. Yes, he would learn to paint music and motion, and then he would be happy.

'So now thou wilt become a painter,' said his father, with a hopeless sigh.

Truly this boy was more trouble than all the rest put together. Here he had just settled down to learn how to become a good goldsmith, and now he wished to try his hand at something else. Well, it was no use saying 'no.' The boy could never be made to do anything but what he wished. There was the Carmelite monk Fra Filippo Lippi, of whom all, men were talking. It was said he was the greatest painter in Florence. The boy should have the best teaching it was possible to give him, and perhaps this time he would stick to his work.

So Sandro was sent as a pupil to Fra Filippo, and he soon became a great favourite with the happy, sunny-tempered master. The quick eye of the painter soon saw that this was no ordinary pupil. There was something about Sandro's drawing that was different to anything that Filippo had ever seen before. His figures seemed to move, and one almost heard the wind rustling in their flowing drapery. Instead of walking, they seemed to be dancing lightly along with a swaying motion as if to the rhythm of music. The very rose-leaves the boy loved to paint, seemed to flutter down to the sound of a fairy song. Filippo was proud of his pupil.

'The world will one day hear more of my Sandro Botticelli,' he said; and, young though the boy was, he often took him to different places to help him in his work.

So it happened that, in that wonderful spring of Filippo's life, Sandro too was at Prato, and worked there with Fra Diamante. And in after years when the master's little daughter was born, she was named Alessandra, after the favourite pupil, to whom was also left the training of little Filippino.

Now, indeed, Sandros good old father had no further cause to complain. The boy had found the work he was most fitted for, and his name soon became famous in Florence.

It was the reign of gaiety and pleasure in the city of Florence at that time. Lorenzo the Magnificent, the son of Cosimo de Medici, was ruler now, and his court was the centre of all that was most splendid and beautiful. Rich dresses, dainty food, music, gay revels, everything that could give pleasure, whether good or bad, was there.

Lorenzo, like his father, was always glad to discover a new painter, and Botticelli soon became a great favourite at court.

But pictures of saints and angels were somewhat out of fas.h.i.+on at that time, for people did not care to be reminded of anything but earthly pleasures. So Botticelli chose his subjects to please the court, and for a while ceased to paint his sad-eyed Madonnas.

What mattered to him what his subject was? Let him but paint his dancing figures, tripping along in their light flowing garments, keeping time to the music of his thoughts, and the subject might be one of the old Greek tales or any other story that served his purpose.

All the gay court dresses, the rich quaint robes of the fair ladies, helped to train the young painter's fancy for flowing draperies and wonderful veils of filmy transparent gauze.

There was one fair lady especially whom Sandro loved to paint--the beautiful Simonetta, as she is still called.

First he painted her as Venus, who was born of the sea foam. In his picture she floats to the sh.o.r.e standing in a sh.e.l.l, her golden hair wrapped round her. The winds behind blow her onward and scatter pink and red roses through the air. On the sh.o.r.e stands Spring, who holds out a mantle, flowers nestling in its folds, ready to enwrap the G.o.ddess when the winds shall have wafted her to land.