In the evening, when I went home, I said to my wife: "Listen. Call me early to-morrow morning, for before six I must be at my studio, as a Professor is coming to see my statue."
And she called me, poor dear—and called me in time. How it happened I know not, but I was late, and six o'clock was striking as I passed the Piazza di Sta Croce. When I arrived at my studio, I found in the hole of the door-lock the card of Bartolini, on which he had written in pencil—"Six o'clock in the morning." I ran immediately to his studio in the Porta San Frediano to make my excuses, and to inform him that I had been but a moment late. His carriage was still at his door. He had not taken off his coat, and he was correcting with his pencil a statue, so that the workman might see as soon as he arrived where he should work. As soon as he saw me, and before I had begun to exculpate myself, he said, "Never mind; there is no harm done. I will come again to-morrow. Addio!"
It is scarcely necessary for me to say that the next morning I was at my studio by five o'clock, and at six Bartolini knocked. He came in, looked at the statue, scowling, and pronouncing one of his oaths, which I will not repeat. I begged him to tell me where I was wrong, and how I could make it better. He asked me what was the subject, and I told him that I intended it for a Dying Abel. I then showed him the sketch, upon which was the goat-skin that as yet I had not put on the large model, in order first to study carefully the nude underneath. And then I told him the objection that Benvenuti had made, and his proposal to change the subject. Bartolini answered, "You will do the best possible thing not to change it, for, as far as regards the clear indication of the theme, nothing more could be done. Besides, the goat-skin, which immediately denotes a shepherd, the wound on the head, and the expression of gentleness, explain that it is Abel. Now, I will give you a little counsel as to the unity of expression, to which you must carefully attend. The face, you see, is gentle, and is that of a just man who pardons as he dies. The limbs also correspond to this sentiment There is only one discord, and that is in the left hand. Why have you closed it, while the right hand is open, and just as it should be?"
BARTOLINI'S CRITICISM.
"I closed it," I answered, "in order to give variety."
"Variety," said the master, "is good when it does not contradict unity. You will do well to open it like the other,—and I have nothing else to say."
This comforted me, but wishing to draw from him something more, in an exacting tone I said, "And as to the imitation, the character, the form?"
"The imitation, the character, and the form of this statue show that you are not of the Academy."
Other words he also added, which it is not proper for me to report. As to the feet, he only made a movement with his thumb, and I said, "I understand."
He looked at me, and added, "All the better for you if you have understood."