"Love, that exempts no one beloved from loving,"
seized hold of that angel and smothered him in its embrace. What has this most fatal story to do with our usual artistic life? To-day there are no more Fornarinas, and, above all, there are no Raphaels; and if by chance an artist falls in love with his model, why, he marries her, and there is an end of it. In conclusion, a good and beautiful model that willingly and honestly (I use this word for want of a better) does her business, I like and employ; but a simple, good-natured, ignorant young girl forced to this shame by her own mother, irritates me and makes me sad.
RAPHAEL AND THE FORNARINA.
At this time they were making the façade of the Church of Santa Croce, with the most valuable aid of Cavaliere Sloane, to whom we are chiefly indebted that it was possible to complete this work. In the design of the façade there were bas-reliefs in the arches over the three doors: over the middle door the "Triumph of the Cross"; over that of the right nave the "Vision of Constantine"; and over the other, on the left, the "Refinding of the Cross." I had already made for the façade the Madonna, who stands high up over the cuspide of the middle door; and because the subject was dear to me, as also the idea which it should convey, I was content with a price which would barely cover the cost of making it, without counting my work on the model. But these three bas-reliefs were much more arduous work; and as I could not make them at the same rate as I had made the Madonna, I refused. Cavaliere Sloane, however, who much desired that these bas-reliefs should be made, came to me and begged me to accept them. As to the price, he assured me that we should agree, and that he would himself pay it, because he wished that the façade should be made by me. I took time to reply, and reflecting that the three bas-reliefs would take much more time than I had to dispose of, and desiring to help my two clever and affectionate pupils, I proposed to Cavaliere Sloane to divide this labour into three parts. The larger bas-relief, that over the central door, I would make; the other two, over the lateral doors, should be made, one by Sarrocchi of Siena, and the other by Emilio Zocchi of Florence. Sloane was satisfied with my proposition, but with the understanding that I should be answerable for the excellence of these works, and while I should leave these artists freedom in their conceptions, I should direct them in such conceptions as well as in the execution. This I formally promised to do, and the work was decided upon.
BAS-RELIEFS ON SANTA CROCE.
These bas-reliefs, which I relinquished to my scholars, recall to my mind other works also given up to scholars, but not mine. Among these is Professor Costa of Florence. In the beginning of my artistic career, when I was making the "Cain" and "Abel," "Giotto," and "Pius II.," I had also a commission to make a statue representing Summer, for one of the four seasons which ornament the palace once called Batelli. This commission, though a poor one, I should have executed, because I had engaged to do so, and poor Batelli had urged it in a friendly way; but Pietro Costa, then very young, studious, and needy, begged it of me, and I, with the consent of the person who had given the commission, gave it up to him, and it was a great success.
MY DAUGHTER AMALIA.
Now that I am speaking of my scholars, it is but just that I should mention my daughter Amalia. She used at that time to come and see me in my studio with her mother and sisters; and while the little Beppina and Gigina stayed out in the little square playing together and gathering flowers, Amalia remained in my studio silently watching me at work. When her mother was getting ready to take her home, she was so unwilling to tear herself away from gazing at my work, that I asked her one day—
"Would you like to do this work?"
"Yes, papa," the child quickly replied.