Читать книгу A Golden Book of Venice - Mrs. Lawrence Turnbull - Страница 9

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The "Madonna del Sorriso" now lacked only the finishing touches upon the exquisite central figure, which reached more nearly to the spiritual ideal than anything that had ever come from the brush of the Veronese, and already the Servite friars, in their long black robes and white cowls, had visited the studio with suggestions many and fruitless, serving only to arouse the artist's indignant protest and increase his determination to image more perfectly the poetic vision that had been vouchsafed to him.

"It hath not the beauty of the 'Venezia' in the palazzo," said one.

"And the church is dark," said another, "and the people like the red and blue of the colors of the true Madonna."

"And a frate, of the Servi—since it hath been painted for the convent—here—kneeling," suggested another, more timidly; for it was known that the Veronese was not always docile in these days, since he had become great.

"Nay, leave me," said the Veronese fiercely; "for this one thing I know, and this will I paint, for the good of my soul, as mine art shall prompt me and not otherwise. And if it please not him—Fra Paolo, who hath given the order—I will bestow it elsewhere."

Then a friar habited like the others, who had stood apart and had not spoken, came and threw back his cowl, dismissing the group with a gesture. The features thus disclosed were unimportant, apart from the domelike forehead, which might well belong to the most learned man of his learned age; but Fra Paolo's face owed its distinction to the rare impression it gave the beholder of invincible calm and self-mastery, with a certain mysterious hint of power and a promise of unswervingness. His gaze held no suggestion of concealment; yet for the deeper thoughts that move the spirit of man, to those who knew him well his mild blue eyes remained inscrutable, while his courtesy to all made one forget that his words were few, and that of himself he had revealed nothing.

"It is well," he said, "to know that we know. Serve faithfully the God who gave the gift and take no counsel from men who know not."

Then he stood silent for a while before the picture, as if he would learn its meaning, the artist watching anxiously, not guessing his thought.

"The pious wish hath made the offering noble," he said at length, in quiet, measured tones. "And for the face, it is holy—of the beauty that God permits—yet I pretend no criticism, since Art is not of mine understanding. I will not take the honor of the gift away from the giver, though I had meant it otherwise."

After Fra Paolo had left the studio the Veronese was still studying his picture, pleased and serious, feeling that this man, who was not an artist, had comprehended the deepest mood in which he had ever approached his art, when Marina entered.

"Fra Paolo hath found our offering worthy," he said very gravely; and suddenly remembering that Marina had come for the last time, "Benedetto hath need of me in the outer studio for some measurements," he said to Marcantonio, "but I shall soon return. Do thou, meanwhile, show the damigella thy sketch."

She turned inquiringly toward Marcantonio, who placed it silently before her. When he gathered courage to look at her she stood flushed and trembling with clasped hands.

"Marina!" he cried.

She moved suddenly away from him, drawing herself up to her full height, one hand slightly extended, as if to keep him from coming nearer; but her face, as she turned it frankly to his, was lighted with a smile the Veronese would never copy, and her eyes shone through her tears.

"Is it true, Marina?" he questioned radiantly, as he tried to seize her hand.

But she still moved backward—not as if she were afraid, but as though she would help him by a motion to understand.

"You have confessed me unawares," she said, "and shown me mine own secret, which I knew not. It is not to confess nor deny."

"Yet you move away, Marina, as if you would not have it so."

"Because only the renunciation of it is for us," she answered firmly.

"For I am of the people, and you—of the Giustiniani!"

"As you shall also be!" he affirmed, undaunted.

"Marco, at Venice this is not easy!" The tone was a caress which she made no effort to withhold, yet he dared not try again to touch her hand; he already felt her strength.

"None the less, because it is not easy it shall be done. Reach me your hand, Marina, to prove that you trust my vow."

He was not wont to crave favor so humbly, but a new reverence had entered into his soul.

She hesitated for a moment, then her words came brokenly, yet with dignity.

"Marco mio, not yet. Because I am of the people, and because the others—your father and mother, who are of the nobles, and my father, who is of the people—may not consent, we will make no vows until this difficulty is conquered."

"They shall not keep us from it."

She shook her head sadly, but came no nearer. "Will Giustinian Giustiniani ask a daughter of the people? But Girolamo Magagnati is not less proud."

"I will return now with thee to Murano. Perhaps thy father will befriend us."

"No, no; without their consent it would be useless. I think I shall not tell him—it would be only a grief."

"Because it meaneth much to thee?" Marco questioned, luminous and ungenerous.

She did not answer.

"Thou dost verily make too much of the nobles and the people, Marina; we are all Venetians."

"Venice is of the sea and of the land—not like other cities; and the Venetian people is not one, but twain; my father hath often said it. Some other day, perhaps—I do not know—if it is needful for the picture, I may come again. Will you tell the maestro? I think he is our friend, and he will understand."

He would have followed her, but she waved him back.

The day had a melancholy cast in the narrow waterways of Murano, where clouds of smoke, dense and constant, rose from hundreds of glass-workers' chimneys, dimming the reflections in the lagoon and obscuring that wonderful coloring of sky which is nowhere so radiant as at Venice.

Beyond the bridge, which the ubiquitous Lion guards with menacing, uplifted paw, beyond the Piazzetta of San Pietro where the acacia trees are growing, down by the main canal, where the breath comes freer—for it is broader than the one where the gondolas from the great houses of Venice gather and float lazily; past the line of low, whitewashed cottages bordering the narrow foot-path on either side, over the little wooden bridge that spans the lagoon, fifty feet across from bank to bank with its ugly traghetto at the farther end, a figure was often seen wending, with a child held in tender mother fashion, to the campo of the "Matrice," the mother church of San Donate.

To-day when Marina had returned from Venice she had caught the little Zuane to her breast with such a passion of tenderness that he looked up into her face with startled eyes; hers were brimming with smiles and tears, and with that wise child-knowledge, which is not granted to earth's learned ones, he put up his tiny hand with a wan smile and stroked her cheek.

"We will go to San Donato, Zuanino mio," she said caressingly, as he nestled closer, "and I have thee, my bimbo!"

She put the little one gently down as they entered the triangular field where the grass grew green and long—whiteness of sand gleaming in irregular patches between the clumps of coarse blades; but to her this poor turf was something precious associated with that island sanctuary, restful and strange, and she drew a long breath with a sense of suppressed pleasure; for sometimes the water, with its shimmering, uncertain surfaces, wearied her, and unconsciously she craved something more positive.

The child, with uncertain steps, tottered toward the standard of San Marco, which floated proudly from the staff that rose from the rude stone pillar in the center of the campo, where other little ones were playing; in the corner by the well groups of women, from the cottages that bounded the campo on one side, were waiting to draw water for the evening meal, putting down their jugs and going first into the Duomo to say an ave, that the good Madonna might bless the cup.

A few feet only from the Duomo the campanile drew her vision skyward; the film of smoke was lighter here, and the sky seemed nearer—bluer. She turned to her little charge with a beaming face—her moods were so easily wrought upon by phases of nature, but slowly moved by personal influences. "See'st thou, bimbo, how it is beautiful here by the Duomo?"

But the little fellow, in one of his sudden spasms of pain, was striking the air impotently with small, clenched fists, frightening the children who were gathering around him, joining in his cries.

Her caress and passionate forgiveness were always ready for the paroxysm in which she was violently pushed away and combated with struggling feet and hands, before came the period of exhaustion in which he nestled close, panting from weakness. Then she carried him into the church, where, kneeling before the Mother of Sorrows, whose outstretched hands seemed to touch her own in responsive sympathy and gift of calm, she prayed and wept.

"O Holy Mater Dolorosa! Why need the children suffer?—they are so tender and so dear!"

She knelt with loving, protecting arms folded close about the little form now breathing softly and at rest, while an agony of questioning filled her prayer to that beseeching Mater Dolorosa, who, wrapped in the clinging folds of her long blue robe, still leaned forward from the marble background of the apse, compassionate for the suffering ones of earth, with imploring hands and ceaseless dropping tears, symbol of love abounding—a symbol, too, of the dignity of those who suffer and are pure in heart.

This sanctuary was almost a home to the maiden, who came hither to praise or question, for life was full of enigmas. Here, too, where she came from duty and deep devotion, with an intricate sensitiveness of conscience which often rendered her unintelligible to her confessor, she lingered for delight. For the tracery on the arches—the color, the wonderful delicacy of the sculpture—were of that time when art was suggestive and faint, in tint and meaning, like a dream, and its message was always spiritual.

"It is not Thou, O Christ," she said, "who willest pain; but thy children, who are not always loving!"

For in her reverie she was comforted by that vision of a legendary time when the Holy Mother had stood, beautiful, compassionate, and commanding, in this field of flaming scarlet lilies; when a great emperor had obeyed her bidding, and San Donato, the Duomo of Murano, had arisen as a refuge for the sorrowing.

In tender language of the people it was the mother church—"Matrice."

She made a cushion of her cloak and laid the little one upon it, for he still slept and she would not waken him; and then, though the quaint, inlaid pavement was cold and bare, she knelt again, her rosary dropping from her hands as she shyly whispered the burden of her strange new confession to this ever-waiting, tender Mother—her confession more full of pain than joy, yet already dear, and a thing not to be surrendered, though it should bring her only pain.

But there was no other friend to whom she told it.

Soon, alas! the days grew over-full of pain, and Marina came more often to the Mater Dolorosa, for the little Zuane had not grown stronger with the coming of the spring; sleep came to him more easily, but it did not bring refreshment, and the roses on his cheeks were only signs of failing bloom. Passionately Marina's loving prayers were breathed before the shrine of the Madonna San Donato, but the little one grew weaker every day, till, after a long night of watching, a sweet-voiced nun stood with Marina beside the cradle.

"The burden of the baby's suffering life is changed to blessing," she said. "Earth held no joy for him; God hath been merciful beyond thy prayer, my daughter."