This coffer was seen by many persons, some of whom asked the price; but Pacetti set a high value upon it, and he had spread about some sort of story that it was a work of Benvenuto Cellini's. Finally, after some time, the Marchioness Poldi of Milan, who had gone to Florence to urge Bartolini to finish the famous group of Astyanax which he was making for her, saw this coffer, liked it, and took it for an antique; but in regard to the excellence of the work, and above all the name of the artist to whom it was sought to attribute it, she determined to consult Bartolini himself, and if his judgment was favourable, to buy it for the price that was asked, but which naturally was not what I had been paid. Bartolini decided that it was one of the finest works of Tasso the intagliatore, made after the designs of Benvenuto Cellini; and the Marchioness Poldi then bought the coffer, and carried it to Milan.
Four years later, I finished my "Abel" and "Cain." I had made a name, which had been rendered still more attractive by the curious story of my origin; for all of a sudden, while nobody knew who I was, I seemed to be an artist who had been born one morning and grown up before night. The only thing that was reported about me was, that I had never studied, and that I had suddenly leaped from the bench of the intagliatore on to that of the sculptor. The reader who has thus far followed me, and who will continue with me up to the completion of my "Abel" and "Cain," will see with what heedlessness these reports were propagated. Let us go on. The Marchioness Poldi came to my studio, and having heard the story of my life, which was in the hands of all, and was written in that easy, attractive, and poetic style of which Farini is master, told me that she possessed a magnificent work in intaglio by the famous intagliatore Tasso, and said that this work was imagined and executed with such grace and excellence that it might truly be called a work of art, and she added that these were the very words of Bartolini.
IN THE STUDIO CAMBI.
The reader may imagine whether I was flattered by this; and in consequence of this praise, as well as to pluck out this thorn from my heart by a confession of my fault, I said, "I beg your pardon, Signora Marchesa, but that work was made by me."
The Marchioness looked at me with a kind of wonder, and then said, "No matter—nay, all the better."
I begged her not to tell Bartolini.
But to return to the point where I left off to make this digression about the Marchioness Poldi. Let me say, that if in my studio I enjoyed complete liberty of imagination and action, and if my works met with such success and were so praised as to give me consolation, matters did not go on so well in the studio Cambi, where I was modelling for the competition. Scarcely had I put my foot into that studio when I became timid, embarrassed, and almost fearful; for the Professor would not leave me free to see and execute from the life as I saw it. I do not say that he was wrong; I only say, that thus feeling my hands bound to the will of another, rendered me hesitating and discontented. I should have preferred a studio of my own, and after I had sketched out as well as I could my own ideas, then to have my master come in to correct me. But there he was always; and he was not content with correcting me by words alone, but he would take the modelling tool and go on and model what I ought to have modelled myself. My work might be done with difficulty; but if I could have done it all myself, as I wished, I should have been much happier, and my hand would have been better seen in it—the hand of a youth without skill indeed, but still desirous to do and to learn; and I should also have been spared the annoyance of hearing that the work was not done by me, but by Professor Cambi. Now Cambi is a very dear friend of mine, and I do not mean in the least to reprove him for what he did; but it is my duty to state the facts clearly just as they are—and I take this occasion to say a few words as to what I consider a master should do in directing his young pupils.
LAWS OF COMPOSITION AND GROUPING.
Every historical fact, in its manifestations of time, place, circumstances, and character, presents itself to the mind of each person who studies it—and far more to any one who intends to reproduce it—in an entirely different way from what it would impress another. The impression each receives depends upon his character, intelligence, temperament, and education. This being admitted, it is in the highest degree difficult to assert with assurance, "I understand and can express the fact better than you." When certain essential points are established, such as the age and character of the personages, and the costumes and style of dress, all the rest depends upon the taste of the artist, and his manner of viewing and feeling it. As to the composition and grouping of the figures, in regard to which dogmatic statements are so often laid down, this should be a free field to the artist in which he may move about as he will. The harmony of lines, the balance of parts, the equality of spaces, are all very fine words; but above all and before all, and as the base of all, there should be clear expression of the fact, truth of action, and living beauty. It is very true that sometimes, and indeed very often, the young pupil is without much study or much knowledge, and in composing his sketch he makes mistakes in the arrangement of the dresses and the character and truth of the subject he wishes to represent. Then indeed the master should interpose. But how? Not by taking the tool himself and saying, "You should do thus and thus"; but rather by putting his pupil on the right road, and making him clearly appreciate the story he is trying to represent, and showing him that this or that figure ought to have the dress and the character appropriate to it, and to point out the means by which he may attain this result. If after this teaching the youth is dull, he should be counselled not to go on; but if, on the contrary, he improves his sketch, the master should correct it and perfect it in its movement, in its ensemble, and in its expression. In this way the youth will take courage and cognisance of his own powers, and improve.
FAULTS OF YOUNG STUDENTS.