Part 23 (1/2)
[133] Mr. Montgomery Carmichael (_On the Old Road_, etc., p. 293), quoting from Don Diego de' Franchi (_Historia del Patriarcha S.
Giovangualberto_, p. 77: Firenze, 1640), says that S. Romuald and S.
Giovanni Gualberto vowed eternal friends.h.i.+p between their Orders, ”and for a long time, if a Camaldolese was visiting Vallombrosa, he would take off his own and put on a Vallombrosan habit as a symbol that the monks of the two Orders were brothers.”
[134] _Guida Ill.u.s.trata del Casentino da C. Beni_: Firenze, 1889. This perhaps the best guide-book in the Tuscan language, is certainly the best for the Casentino. Those who cannot read it must fall back on the charming and delightful book by Miss Noyes, _The Casentino and its Story_: Dent, 1905. It is too good a book to be left useless in its heavy bulky form. Perhaps Miss Noyes will give us a pocket edition.
XXVII. PRATO
Prato is like a flower that has fallen by the wayside that has faded in the dust of the way. She is a little rosy city, scarcely more than a castello, full of ruined churches; and in the churches are ruined frescoes, ruined statues, broken pillars, spoiled altars. You pa.s.s from one church to another--from S. Francesco, with its facade of green and white, its pleasant cloister and old frescoes, to La Madonna delle Carceri, to S. Niccol da Tolentino, to S. Domenico--and you ask yourself, as you pa.s.s from one to another, what you have come to see: only this flower fallen by the wayside.
But in truth Prato is the child of Florence, a rosy child among the flowers--in the country, too, as children should be. Her churches are small. What could be more like a child's dream of a church than La Madonna delle Carceri? And the Palazzo Pretorio--it is a toy palace wonderfully carved and contrived, a toy that has been thrown aside. In the Palazzo Comunale the little daughter of Florence has gathered all her broken treasures: here a discarded Madonna, there a Bambino long since forgotten; flowers, too, flowers of the wayside, faded now, such as a little country girl will gather and toss into your vettura at any village corner in Tuscany; a terra-cotta of Luca della Robbia, and that would be a lily; a Madonna by Nero di Bicci, and that might have been a rose; a few panels by Lippo Lippi, and they were from the convent garden. In Via S. Margherita you come still upon a nosegay of such country blossoms, growing still by the wayside--Madonna with St.
Anthony, S. Margherita, S. Costanza, and S. Stefano about her, painted by Filippino Lippo, a very lovely shrine, such as you cannot find in Florence, but which Prato seems glad to possess, on the way to the country itself.
And since Prato is a child, there are about her many children; mischievous, shy, joyful little people, who lurk round the coppersmiths, or play in the old churches, or hide about the corridors of Palazzo Comunale. And so it is not surprising that the greatest treasures of Prato are either the work of children--the frescoes, for instance, of Lippo Lippi and Lucrezia Buti in the Duomo--or the presentment of them, yes, in their happiest moments; some dancing, while others play on pipes, or with cymbals full of surprising sweetness, in the open-air pulpit of Donatello; a pulpit from which five times every year a delightful and wonderful thing is shown, not without its significance, too, in this child-city of children--Madonna's Girdle, the Girdle of the Mother of them all, shown in the open air, so that even the tiniest may see.
The Duomo itself, simple and small, so that you may not lose your way there, however little you may be, was built in 1317, though a church has stood there apparently since about 750, while the facade, all in ivory and green, is a work of the fifteenth century. Donatello's pulpit, for which a contract was made in 1425 which named Michelozzo with him as one of those _industriosi maestri_ intent on the work, is built into the south-west corner of the church overlooking the Piazza. Almost a complete circle in form, it is separated, unfortunately we may think, into seven panels divided by twin pilasters, where on a mosaic ground groups, crowds almost, of children dance and play and sing. It is the very spirit of childhood you see there, a nave impetuosity that occasionally almost stumbles or forgets which way to turn; and if these panels have not the subtler rhythm of the Cantoria at Florence, they are more frankly just children's work, so that any day you may see some little maid of Prato gazing at those laughing babies, babies who dance really not without a certain awkwardness and simplicity, as though they were her own brothers, as indeed they are. Under the pulpit, Michelozzo has forged in bronze a relief of one face of a capital, where other children gaze with all the serious innocence of childhood at the pleasant world of the Piazza.
Pa.s.sing under the terra-cotta of Madonna with St. Stephen and St.
Laurence, made by Andrea della Robbia in 1489, you enter the church itself, a little dim and mysterious, and full of wonderful or precious things, those pillars, for instance, of green serpentine or the Sacra Cintola, the very Girdle of Madonna herself, in its own chapel there on the left behind the beautiful bronze screen of Bruno di Ser Lapo. There, too, you will always find a group of children, and surely it was for them that Agnolo Gaddi painted those frescoes of the life of Madonna and the gift of her Girdle to St. Thomas. For it seems that doubting Thomas was doubting to the last; he alone of all the saints was the least a child. How they wonder at him now, for first he could not believe that Jesus was risen from the dead, when the flowers rise, when the spring like Mary wanders to-day in tears in the garden. Was she not, indeed, the spring, who at break of day stood trembling on the verge of the garden, looking for the sun, the sun that had been dead all winter long?
”They have taken away my Lord, and I know not where they have laid Him.”
After all, is it not the cry of our very hearts often enough at Easter, when the summer for which we have waited too long seems never to be coming at all? It came at last, and St. Thomas, like to us maybe, but unlike the children, would not believe it till he had touched the very dayspring with his hands, and felt the old sweetness of the suns.h.i.+ne.
And so, when the sun was set and the world desolate, Madonna too came to die, and was received into heaven amid a great company of angels, and they were the flowers, and there she is eternally. Now, when all this came to pa.s.s, St. Thomas was not by, and when he came and saw Winter in the world he would not believe that Madonna was dead, nor would he be persuaded that she was crowned Queen of Angels in heaven. And Mary, in pity of his sorrow, sent him by the hands of children ”the girdle with which her body was girt,”--just a strip of the blue sky sprinkled with stars,--”and therefore he understood that she was a.s.sumpt into heaven.”
And if you ask how comes this precious thing in Prato, I ask where else, then, could it be but in this little city among the children, where the promise of Spring abides continually, and the Sun is ever in their hearts. Ah, Rose of the world, dear Lily of the fields, you will return; like Spring you will come from that heaven where you are, and in every valley the flowers will run before you and the poppies will stray among the corn, and the proud gladiolus will bow its violet head; then on the hillside I shall hear again the silver laughter of the olives, and in the wide valleys I shall hear all the rivers running to the sea, and the sweet wind will wander in the villages, and in the walled cities I shall find the flowers, and I too, with the children, shall wait on the hills at dawn to see you pa.s.s by with the Sun in your arms because it is spring--Stella Matutina, Causa nostrae laet.i.tiae.
It was a certain lad of Prato, Michele by name, who, wandering in the wake of the great army in Palestine in 1096 at evening, by one of the wells of the desert, kissed the little daughter of a great priest, who gave him the Girdle of Madonna for love. Returning to Prato with this precious thing, and having nowhere to hide it, he put it, as a child might do, under his bed, and every night the angels for fear mounted guard about it. He died, and it came into the hands of a certain Uberto, a priest of the city; then, one tried to steal it, but he was put to death, and after, the Girdle was placed in the Duomo in a casket of ivory in a chapel of marble between the pillars of serpentine and lamps of gold. And Andrea Pisano carved a statue of Madonna, and they dressed her in silk and placed her on an altar, in which lay hidden the promise of spring. Then Ridolfo Ghirlandajo painted a fresco over the west door, of Madonna with her Girdle, and indeed they did all they knew in honour of their treasure: so that Mino da Fiesole and Rossellino made a pulpit and set it there in the nave, and there, too, you may see Madonna giving her Girdle to St. Thomas, and St. Stephen, the boy martyr, stoned to death, and other remembrances. In the south transept Benedetto da Maiano carved a Madonna and Child, while his brothers carved a Pieta; but it is not such work as this which calls you to the Duomo to-day, but certainly the Girdle itself, which, however, you can only see on certain occasions.[135] And then there is the work of those two children, Fra Lippo Lippi and the little girl who ran away from her convent for love of him, Lucrezia Buti; for though it was Lippo Lippi who painted, it was Lucrezia who served him for model, and since with him painting, for the first time perhaps, came to need life to inspire it, Lucrezia has her part in his work which it would be ungenerous to ignore.
Filippo Lippi was born in 1406 in a by-street of Florence called Ardiglione, behind the convent of the Carmelites, where he painted his first frescoes. His mother, poor soul, died in giving him life, and his father died too before he was three years old. For some time he lived in the care of a certain Mona Lapaccia, his aunt, who hardly brought him up till he was eight years old, when, as Vasari tells us, no longer able to support the burden of his maintenance, she took him to the Carmelites, who promised to make a friar of him. Florence was at the moment of its all too brief spring, in which painting and sculpture were to grow almost like flowers at every street corner, with a delicate beauty that is characteristic of wild flowers, which yet are hardy enough in reality. Reality, it is just that which is so touching in the work of this nave, observant painter, whose work has much of the beauty of a folk-song, one of those rispetti which on every Tuscan hill you may hear any summer day above the song of the cicale. He went about, like the child he was his whole life long, looking at things out of curiosity, and remembering them for love. His adventures, those marvellous adventures of his childhood so carefully related by Vasari,--his capture by pirates on the beach of Ancona, his sojourn in Barbary, his escape hardly won by the astonishment of his art, are tales which, whether true or not, have a real value for us because they are indicative of his life, his view of the world: his life was in itself so daring, so delightful an adventure, that nothing that could have happened to him can seem marvellous beside it. For he has for the first time in Italy seen the things we have seen, and loved them: the children at the street corner, the flowers by the wayside, the girls grouped in a doorway looking sideways up the street, a mother nursing her little struggling son. In 1421 he had taken the habit, and then Masaccio had come to the convent to paint in the Brancacci Chapel, and Fra Filippo watched him, helping him perhaps, certainly fired by his work, till he who had played in the streets of Florence decided that he must be a painter. It is characteristic of his whole method that from the very beginning the cloister was too strait for him; he had the pa.s.sion for seeing things, people, the life of the city, of strange cities too, for we hear of him vaguely in Naples, but soon in Florence again, where he painted in S.
Ambrogio for the nuns the Coronation of the Virgin, now in the Accademia. It was this picture which Cosimo came upon, and, finding the painter, took him into his house. And truly, it was something very different from the holy work of Angelico, a painter Cosimo loved so well, that he found in that picture of the Coronation. That Virgin, was she Queen of Angels or some Florentine girl?--and then those angels, are they not the very children of the City of Flowers? But Lippo was not content; he who had found the convent too narrow for him in his insatiable desire for life, was not likely to be content with any burgher's palace. Cosimo ordered pictures, Lippo laughed in the streets, so they locked him in, and he knotted the sheets of the bed together and let himself out of the window, and for days he lived in the streets. So Cosimo let him alone, ”labouring to keep him at his work by kindness,”
understanding, perhaps that it was a child with whom he had to deal, a child full of the wayward impulses of children, the nave genius of youth, the happiness of all that;--the pa.s.sions, too, a pa.s.sion, in Filippo's case, for kisses. He was never far from a girl's arms; and then how he has painted them, shy, roguish, wanton daughters of Florence, with their laughing, obstinate, kicking babies, half laughing, half smiling, altogether serious too, while Lippo paints them with a kiss for payment.
He spent some months in Prato with his friend Fra Diamante, who had been his companion in novitiate. The nuns of S. Margherita commissioned him to paint a picture for their high altar, and it was while at work there that he caught sight of Lucrezia Buti. ”Fra Filippo,” says Vasari, ”having had a glance at the girl, who was very beautiful and graceful, so persuaded the nuns that he prevailed upon them to permit him to make a likeness of her for the figure of their Virgin.” The picture, now in Paris, was finished, not before Filippo had fallen in love with Lucrezia and she with him, so that he led her away from the nuns; and on a certain day, when she had gone forth to do honour to the Cintola, he bore her from their keeping. ”Take us the foxes, the little foxes that spoil the vineyards; for our vineyards have tender grapes.”
Vasari tells us that Lucrezia never returned, but remained with Filippo, bearing him a son,--that Filippino ”who eventually became a most excellent and very famous painter like his father.”
And it is said that not Lucrezia alone was involved in that adventure, for she had a sister not less lovely than herself, called Spinetta; she also fled away, and this again brought disgrace on the nuns, so that the Pope himself was compelled to interfere, for they were all living in Prato, not in disgrace but happily, children in a city of children.
Cosimo, however, befriended them, and would laugh till the tears came in telling the tale, till Pius II, not altogether himself guiltless of the love of women, at his request unfrocked Filippo and authorised his union with Lucrezia. However this may be, and however strange it may seem, this wolf, who had stolen the lamb from the fold of Holy Church, was engaged by the Duomo authorities in this very city of the theft to paint in fresco there in the choir the story of St. John Baptist and of St. Stephen. It is a masterpiece. As we look to-day on the faded beauty of his work, it is with surprise we ask ourselves why he has signed the fresco of the death of St. Stephen, for instance, Frater Filippus; surely he was frater no longer, but Sponsus. He worked for four years at those frescoes, Fra Diamante coming from Florence to help him. He was a child, and the children of Prato understood him--the Medici too; for when the work in Prato was finished, Piero de' Medici roused himself to find him work, again in a church, the Duomo of Spoleto, where he has painted very sweetly the Annunciation, the Adoration of the Shepherds, the Coronation of the Virgin. Could these things have happened in any other city save Prato, or to any other than a child in the days not so long before Savonarola was burned? No; Fra Lippo played among the children of Italy, and has told us of them with simplicity and sweetness,--little stumbling fellows of the house doors, the laughing children about the fountains, the slim, pale girls who walk arm-in-arm, smiling faintly, in every Tuscan city at sunset, the flowers by the wayside, the shepherds of the hills. And he has made Jesus in the image of his little son; and Madonna is but Lucrezia Buti, whom he kissed into the world. You may see them to-day if you will go to Prato.
FOOTNOTES:
[135] The occasions are Christmas Day, Easter Day, May 1, August 15, and September 8.
XXVIII. PISTOJA
If St. Francis of a.s.sisi dreamed his whole life long of the resurrection of love among men, and in the valleys of Umbria went about like a second Jesus doing good, with an immense love in his heart singing his Laudes Creaturarum by the wayside; Dante Alighieri, the greatest poet of his country, might almost seem to have been overwhelmed with hatred, a hatred which is perhaps but the terrible reverse of an intolerable love, but which is an impeachment, nevertheless, not only of his own time, of the cities of his country, but of himself too, for while he thus sums up the Middle Age and judges it, he is himself its most marvellous child, losing himself at last in one of its ideals. St. Francis of a.s.sisi, concerned only with humanity, has by love contrived the Renaissance of man, a.s.sured as he was by the love of G.o.d, His delight in us His creatures. But for Dante, bitter with loneliness, wandering in the h.e.l.l, the Purgatory, the Paradise of his own heart, any such wide and overwhelming love might seem to have been impossible. Imprisoned in the adamant of his personality, he has little but hatred and contempt for the world he knew so well. How scornful he is! Some secret sorrow seems to have burnt up the wells of sweetness in his nature, from which he once drew a love for all mankind. He seems to have gone about hating people, so that if he speaks of Florence it is with a pa.s.sionate enmity, if of Siena with scorn, Pisa has only his contempt, Arezzo is to him abominable and beastly. He has judged his country as G.o.d Himself will not judge it, and he kept his anger for ever. And since the great Florentine can bring himself to bid Florence