Gentile Bellini is his brother and looks very much like him. The Grand Turk at Constantinople came here once and saw Gian Bellini at work in the Great Hall. He had never seen a good picture before and was amazed. He wanted the Senate to sell Gian to him, thinking he was a slave. They humored the Pagan by hiring Gentile Bellini to go instead, loaning him out for two years, so to speak.
Gentile went, and the Sultan, who never allowed any one to stand before him, all having to grovel in the dirt, treated Gentile as an equal. Gentile even taught the old rogue to draw a little, and they say the painter had a key to every room in the palace, and was treated like a prince.
Well, they got along all right, until one day Gentile drew the picture of the head of John the Baptist on a charger.
“A man’s head doesn’t look like that when it is cut off,” said the Grand Turk contemptuously. Gentile had forgotten that the Turk was on familiar ground.
“Perhaps the Light of the Sun knows more about painting than I do!” said Gentile, as he kept right on at his work.
“I may not know much about painting, but I’m no fool in some other things I might name,” was the reply.
The Sultan clapped his hands three times: two slaves appeared from opposite doors. One was a little ahead of the other, and as this one approached, the Sultan with a single swing of the snickersnee snipped off his head. This teaches us that obedience to our superiors is its own reward. But the lesson was wholly lost on Gentile Bellini, for he did not even remain to examine the severed head for art’s sake. The thought that it might be his turn next was supreme, and he leaped through a window, taking the sash with him. Making his way to the docks he found a sailing vessel loading with fruit, bound for Venice. A small purse of gold made the matter easy: the captain of the boat secreted him, and in four days he was safely back in Saint Mark’s giving thanks to God for his deliverance.
No, I didn’t say Gian was a rogue—I only told you what others say. I am only a poor gondolier—why should I trouble myself about what great folks do? I simply tell you what I hear—it may be so, and it may not. God knows! There is that Pascale Salvini—he has a rival studio—and when that Genoese, Christoforo Colombo, was here and made his stopping-place at Bellini’s studio, Pascale told every one that Colombo was a lunatic, and Bellini another, for encouraging him to show his foolish maps and charts. Now, they do say that Colombo has discovered a new world, and Italians are feeling troubled in conscience because they did not fit him out with ships instead of forcing him to go to Spain.
No, I didn’t say Bellini was a hypocrite—Pascale’s pupils say so, and once they followed him over to Murano—three barca-loads and my gondola beside. You see it was like this: Twice a week just after sundown, we used to see Gian Bellini untie his boat from the landing there behind the Doge’s palace, turn the prow, and beat out for Murano, with no companion but that deaf old caretaker. Twice a week, Tuesdays and Fridays—always at just the same hour, regardless of the weather—we would see the old hunchback light the lamps, and in a few moments the Master would appear, tuck up his black robe, step into the boat, take the oar and away they would go. It was always to Murano, and always to the same landing—one of our gondoliers had followed them several times, just out of curiosity.
Finally it came to the ears of Pascale that Gian took this regular trip to Murano. “It is a rendezvous,” said Pascale. “It is worse than that: an orgy among those lacemakers and the rogues of the glassworks. Oh, to think that Gian should stoop to such things at his age—his pretended asceticism is but a mask—and at his age!”