Knights of Art; stories of the Italian painters Part 9

Well, he could work, and that was always a beginning. The struggle was hard, and for many a month he often went hungry and had not even a bed to lie on at night, but curled himself up on a hard wooden chest. Then good fortune began to smile upon him.

The Florentine artists to whose studios he went began to notice the hardworking boy, and when they looked at his work, with all its faults and want of finish, they saw in it that divine something called genius which no one can mistake.

Then the doors of another world seemed to open to Pietro. All day long he could now work at his beloved painting and learn fresh wonders as he watched the great men use the brush and pencil. In the studio of the painter Verocchio he met the men of whose fame he had so often heard, and whose work he looked upon with awe and reverence.

There was the good-tempered monk of the Carmine, Fra Filipo Lippi, the young Botticelli, and a youth just his own age whom they called Leonardo da Vinci, of whom it was whispered already that he would some day be the greatest master of the age.

These were golden days for Perugino, as he was called, for the name of the city where he had come from was always now given to him. The pictures he had longed to paint grew beneath his hand, and upon his canvas began to dawn the solemn dignity and open-air s.p.a.ciousness of those evening visions he had seen when he gazed across the Umbrian Plain. There was no noise of battle, no human pa.s.sion in his pictures. His saints stood quiet and solemn, single figures with just a thread of interest binding them together, and always beyond was the great wide open world, with the white light s.h.i.+ning in the sky, the blue thread of the river, and the single trees pointing upwards--dark, solemn cypress, or feathery larch or poplar.

There was much for the young painter still to learn, and perhaps he learned most from the silent teaching of that little dark chapel of the Carmine, where Masaccio taught more wonderful lessons by his frescoes than any living artist could teach.

Then came the crowning honour when Perugino received an invitation from the Pope to go to Rome and paint the walls of the Sistine Chapel. Hence forth it was a different kind of life for the young painter. No need to wonder where he would get his next meal, no hard rough wooden chest on which to rest his weary limbs when the day's work was done. Now he was royally entertained and softly lodged, and men counted it an honour to be in his company.

But though he loved Florence and was proud to do his painting in Rome, his heart ever drew him back to the city on the hill whose name he bore.

Again he travelled along the winding road, and his heart beat fast as he drew nearer and saw the familiar towers and roofs of Perugia. How well he remembered that long-ago day when the cool touch of the gra.s.s was so grateful to his little tired dusty feet! He stooped again to fill his hands with the sweet violets, and thought them sweeter than all the fame and fair show of the gay cities.

And as he pa.s.sed through the ancient gateway and threaded his way up the narrow street towards the little shop, he seemed to see once more the kindly smile of his old master and to hear him say, 'Thou wilt soon be the greatest man in Perugia, and we will call thee no longer Pietro Vanucci, but Perugino.'

So it had come to pa.s.s. Here he was. No longer a little ragged, hungry boy, but a man whom all delighted to honour. Truly this was a world of changes!

A bigger studio was needed than the little old shop, for now he had more pictures to paint than he well knew how to finish. Then, too, he had many pupils, for all were eager to enter the studio of the great master. There it was that one morning a new pupil was brought to him, a boy of twelve, whose guardians begged that Perugino would teach and train him.

Perugino looked with interest at the child. Seldom had he seen such a beautiful oval face, framed by such soft brown curls--a face so pure and lovable that even at first sight it drew out love from the hearts of those who looked at him.

'His father was also a painter,' said the guardian, 'and Raphael, here, has caught the trick of using his pencil and brush, so we would have him learn of the greatest master in the land.'

After some talk, the boy was left in the studio at Perugia, and day by day Perugino grew to love him more. It was not only that little Raphael was clever and skilful, though that alone often made the master marvel.

'He is my pupil now, but some day he will be my master, and I shall learn of him,' Perugino would often say as he watched the boy at work. But more than all, the pure sweet nature and the polished gentleness of his manners charmed the heart of the master, and he loved to have the boy always near him, and to teach him was his greatest pleasure.

Those quiet days in the Perugia studio never lasted very long. From all quarters came calls to Perugino, and, much as he loved work, he could not finish all that was wanted.

It happened once when he was in Florence that a certain prior begged him to come and fresco the walls of his convent. This prior was very famous for making a most beautiful and expensive blue colour which he was anxious should be used in the painting of the convent walls. He was a mean, suspicious man, and would not trust Perugino with the precious blue colour, but always held it in his own hands and grudgingly doled it out in small quant.i.ties, torn between the desire to have the colour on his walls and his dislike to parting with anything so precious.

As Perugino noted this, he grew angry and determined to punish the prior's meanness. The next time therefore that there was a blue sky to be painted, he put at his side a large bowl of fresh water, and then called on the prior to put out a small quant.i.ty of the blue colour in a little vase. Each time he dipped his brush into the vase, Perugino washed it out with a swirl in the bowl at his side, so that most of the colour was left in the water, and very little was put on to the picture.

'I pray thee fill the vase again with blue,' he said carelessly when the colour was all gone. The prior groaned aloud, and turned grudgingly to his little bag.

'Oh what a quant.i.ty of blue is swallowed up by this plaster!' he said, as he gazed at the white wall, which scarcely showed a trace of the precious colour.

'Yes,' said Perugino cheerfully, 'thou canst see thyself how it goes.'

Then afterwards, when the prior had sadly gone off with his little empty bag, Perugino carefully poured the water from the bowl and gathered together the grains of colour which had sunk to the bottom.

'Here is something that belongs to thee,' he said sternly to the astonished prior. 'I would have thee learn to trust honest men and not treat them as thieves. For with all thy suspicious care, it was easy to rob thee if I had had a mind.'

During all these years in which Perugino had worked so diligently, the art of painting had been growing rapidly. Many of the new artists shook off the old rules and ideas, and began to paint in quite a new way. There was one man especially, called Michelangelo, whose story you will hear later on, who arose like a giant, and with his new way and greater knowledge swept everything before him.

Perugino was jealous of all these new ideas, and clung more closely than ever to his old ideals, his quiet, dignified saints, and s.p.a.cious landscapes. He talked openly of his dislike of the new style, and once he had a serious quarrel with the great Michelangelo.

There was a gathering of painters in Perugino's studio that day. Filippino Lippi, Botticelli, Ghirlandaio, and Leonardo were there, and in the background the pupil Raphael was listening to the talk.

'What dost thou think of this new style of painting?' asked Botticelli. 'To me it seems but strange and unpleasing. Music and motion are delightful, but this violent twisting of limbs to show the muscles offends my taste.'

'Yet it is most marvellously skilful,' said the young Leonardo thoughtfully.

'But totally unfit for the proper picturing of saints and the blessed Madonna,' said Filippino, shaking his curly head.

'I never trouble myself about it,' said Ghirlandaio. 'Life is too short to attend to other men's work. It takes all my care and attention to look after mine own. But see, here comes the great Michelangelo himself to listen to our criticism.'

The curious, rugged face of the great artist looked good-naturedly on the company, but his strong knotted hands waved aside their greetings.

'So you were busy as usual finding fault with my work,' he said. 'Come, friend Perugino, tell me what thou hast found to grumble at.'

'I like not thy methods, and that I tell thee frankly,' answered Perugino, an angry light s.h.i.+ning in his eyes. 'It is such work as thine that drags the art of painting down from the heights of heavenly things to the low taste of earth. It robs it of all dignity and restfulness, and destroys the precious traditions handed down to us since the days of Giotto.'

The face of Michelangelo grew angry and scornful as he listened to this.

'Thou art but a dolt and a blockhead in Art,' he said. 'Thou wilt soon see that the day of thy saints and Madonnas is past, and wilt cease to paint them over and over again in the same manner, as a child doth his lesson in a copy book.'

Then he turned and went out of the studio before any one had time to answer him.

Perugino was furiously angry and would not listen to reason, but must needs go before the great Council and demand that they should punish Michelangelo for his hard words. This of course the Council refused to do, and Perugino left Florence for Perugia, angry and sore at heart.

It seemed hard, after all his struggles and great successes, that as he grew old people should begin to tire of his work, which they had once thought so perfect.

But if the outside world was sometimes disappointing, he had always his home to turn to, and his beautiful wife Chiare. He had married her in his beloved Perugia, and she meant all the joy of life to him. He was so proud of her beauty that he would buy her the richest dresses and most costly jewels, and with his own hands would deck her with them. Her brown eyes were like the depths of some quiet pool, her fair face and the wonderful soul that shone there were to him the most perfect picture in the world.

'I will paint thee once, that the world may be the richer,' said Perugino, 'but only once, for thy beauty is too rare for common use. And I will paint thee not as an earthly beauty, but thou shalt be the angel in the story of Tobias which thou knowest.'

So he painted her as he said. And in our own National Gallery we still have the picture, and we may see her there as the beautiful angel who leads the little boy Tobias by the hand.

Up to the very last years of his life, Perugino painted as diligently as he had ever done, but the peaceful days of Perugia had long since given place to war and tumult, both within and without the city. Then too a terrible plague swept over the countryside, and people died by thousands.

To the hospital of Fartignano, close to Perugia, they carried Perugino when the deadly plague seized him, and there he died. There was no time to think of grand funerals; the people were buried as quickly as possible, in whatever place lay closest at hand.

So it came to pa.s.s that Perugino was laid to rest in an open field under an oak-tree close by. Later on his sons wished to have him buried in holy ground, and some say that this was done, but nothing is known for certain. Perhaps if he could have chosen, he would have been glad to think that his body should rest under the shelter of the trees he loved to paint, in that waste openness of s.p.a.ce which had always been his vision of beauty, since, as a little boy, he gazed across the Umbrian Plain, and the wonder of it sank into his soul.

LEONARDO DA VINCI

On the sunny slopes of Monte Albano, between Florence and Pisa, the little town of Vinci lay high among the rocks that crowned the steep hillside. It was but a little town. Only a few houses crowded together round an old castle in the midst, and it looked from a distance like a swallow's nest clinging to the bare steep rocks.

Here in the year 1452 Leonardo, son of Ser Piero da Vinci, was born. It was in the age when people told fortunes by the stars, and when a baby was born they would eagerly look up and decide whether it was a lucky or unlucky star which shone upon the child. Surely if it had been possible in this way to tell what fortune awaited the little Leonardo, a strange new star must have shone that night, brighter than the others and unlike the rest in the dazzling light of its strength and beauty.

Leonardo was always a strange child. Even his beauty was not like that of other children. He had the most wonderful waving hair, falling in regular ripples, like the waters of a fountain, the colour of bright gold, and soft as spun silk. His eyes were blue and clear, with a mysterious light in them, not the warm light of a sunny sky, but rather the blue that glints in the iceberg. They were merry eyes too, when he laughed, but underneath was always that strange cold look. There was a charm about his smile which no one could resist, and he was a favourite with all. Yet people shook their heads sometimes as they looked at him, and they talked in whispers of the old witch who had lent her goat to nourish the little Leonardo when he was a baby. The woman was a dealer in black magic, and who knew but that the child might be a changeling?