Arthur carried off the drawings, and one day, when his master was better than usual, and when he was at leisure, eating a dessert of Francisco’s grapes, he entered respectfully, with his little portfolio under his arm, and begged permission to show his master a few drawings done by the gardener’s son, whose grapes he was eating.
Though not quite so partial a judge as the enthusiastic Carlo, this gentleman was both pleased and surprised at the sight of these drawings, considering how short a time Francisco had applied himself to this art, and what slight instructions he had received. Arthur was desired to summon the young artist. Francisco’s honest, open manner, joined to the proofs he had given of his abilities, and the character Arthur gave him for strict honesty, and constant kindness to his parents, interested Mr. Lee, the name of this English gentleman, much in his favour. Mr. Lee was at this time in treaty with an Italian painter, whom he wished to engage to copy for him exactly some of the cornices, mouldings, tablets, and antique ornaments which are to be seen amongst the ruins of the ancient city of Herculaneum. [326]
CHAPTER III.
Tutte le gran faciende si fanno di poca cosa.
What great events from trivial causes spring.
Signor Camillo, the artist employed by Mr. Lee to copy some of the antique ornaments in Herculaneum, was a liberal minded man, perfectly free from that mean jealousy which would repress the efforts of rising genius.
“Here is a lad scarcely fifteen, a poor gardener’s son, who, with merely the instructions he could obtain from a common carpenter, has learned to draw these plans and elevations, which you see are tolerably neat. What an advantage your instruction would be to him,” said Mr. Lee, as he introduced Francisco to Signor Camillo. “I am interested in this lad from what I have learned of his good conduct. I hear he is strictly honest, and one of the best of sons. Let us do something for him. If you will give him some knowledge of your art, I will, as far as money can recompense you for your loss of time, pay whatever you may think reasonable for his instruction.”
Signor Camillo made no difficulties; he was pleased with his pupil’s appearance, and every day he liked him better and better. In the room where they worked together there were some large books of drawings and plates, which Francisco saw now and then opened by his master, and which he had a great desire to look over; but when he was left in the room by himself he never touched them, because he had not permission. Signor Camillo, the first day he came into this room with his pupil, said to him, “Here are many valuable books and drawings, young man. I trust, from the character I have heard of you, that they will be perfectly safe here.”
Some weeks after Francisco had been with the painter, they had occasion to look for the front of a temple in one of these large books. “What! don’t you know in which book to look for it, Francisco?” cried his master, with some impatience. “Is it possible that you have been here so long with these books, and that you cannot find the print I mean? Had you half the taste I gave you credit for, you would have singled it out from all the rest, and have it fixed in your memory.”
“But, signor, I never saw it,” said Francisco, respectfully, “or, perhaps, I should have preferred it.”
“That you never saw it, young man, is the very thing of which I complain. Is a taste for the arts to be learned, think you, by looking at the cover of a book like this? Is it possible that you never thought of opening it?”