This painter was a restless, aggressive personage, with a craze for reform; and a conspicuous member of the "Bardotti:" a society of uncommissioned reformers, whose occupation was to cry down abuses, and prescribe wholesale theoretical measures for removing them. (Hence their title; which signifies "spare" horses or "freed" ones: they walk by the side of the waggon while others drudge at, and drag it along). But he discovered that men would not be reformed; and bethought himself, after a time, of a new manner of testifying to the truth. He selected a room in his own house, whitewashed it (we conclude); and, working in "distemper" or fresco, painted it with men and women of every condition and kind. He then harangued these on their various shortcomings. They answered him, as he imagined, in a humble and apologetic manner; and he then proceeded to denounce their excuses, and strip the mask from their sophistries and hypocrisies—doing so with every appearance of success.
But he presumed too much on his victory. A famine had broken out in Siena. The magistrates were, of course, held responsible for it. The Bardotti assembled, and prescribed the fitting remedies. Everything would come right if only the existing social order was turned topsy-turvy, and men were released from every tie. Pacchiarotto was conspicuous by his eloquence. But when he denounced the chief of the municipal force, and hinted that if the right man were in the right place, that officer would be he, all the other "spare horses" rushed upon him and he was obliged to run for his life. The first hiding-place which presented itself was a sepulchre, in which a corpse had just been laid. He squeezed himself into this, and crawled forth from it at at the end of two days, starving, covered with vermin, and thoroughly converted to the policy of living and letting live. The authentic part of the narrative concludes with his admission into a neighbouring convent (the Osservanza) where he was cleansed and fed. But Mr. Browning allows Fancy the just employment of telling how the Superior improved the occasion, and how his lesson was received.
"It is a great mistake," this reverend person assures his guest—though one from which his own youth has not been free—"to imagine that any one man can preach another out of his folly. If such endeavours could succeed, heaven would have begun on earth. Whereas, every man's task is to leaven earth with heaven, by working towards the end to which his Master points, without dreaming that he can ever attain it. Man, in short, is to be not the 'spare horse,' but the 'mill-horse' plodding patiently round and round on the same spot."
And Pacchiarotto replies that his monitor's arguments are, by his own account, doomed to be ineffectual: but that he is addressing himself to one already convinced. He (Pacchiarotto) never was so by living man; but he has been convinced by a dead one. That corpse has seemed to ask him by its grin, why he should join it before his time because men are not all made on the same pattern: "Because, above, one's Jack and one—John." And the same grin has reminded him that this life is the rehearsal, not the real performance: just an hour's trial of who is fit, and who isn't, to play his part; that the parts are distributed by the author, whose purpose will be explained in proper time; and that when his brother has been cast for a fool's part, he is no sage who would persuade him to give it up. He is now going back to his paint-pot, and will mind his own business in future.
By an easy transition, Mr. Browning turns the laugh against his own critics, whom he professes to recognize on this May morning, as flocking into his garden in the guise of sweeps. He does not, he says, grudge them their fun or their one holiday of the year, the less so that their rattling and drumming may give him some inkling how music sounds; and he flings them, by way of a gift, the story he has just told, bidding them dance, and "dust" his "jacket" for a little while. But that done, he bids them clear off, lest his housemaid should compel them to do so. He has her authority for suspecting that in their professional character they bring more dirt into the house than they remove from it[[92]].
"FILIPPO BALDINUCCI" was the author of a history of art ("Notizie dei Professori del Disegno da Cimabue in qua"); and the incident which Mr. Browning relates as "a reminiscence of A.D. 1670," appears there in a notice of the life of the painter Buti. (Vol. iii. p. 422.)
The Jewish burial ground in Florence was a small field at the foot of the Monte Oliveto. A path ascending the hill skirted its upper end, and at an angle of this stood a shrine with one side blank, the other adorned by a painting of the Virgin Mary. The painting was intended to catch the eye of all believers who approached from the neighbouring city-gate (Porta San Friano or Frediano); and was therefore so turned that it overlooked the Jewish cemetery at the same time. The Jews, objecting to this, negotiated for its removal with the owner of the ground; and his steward, acting in his name, received a hundred ducats as the price of his promise that the Virgin should be transferred to the opposite side of the shrine. The task was undertaken by Buti, but carried on in the privacy of a curtained scaffolding; and when the curtains were withdrawn, it was seen that the picture had been transferred; but that a painting of the Crucifixion occupied its original place. Four Rabbis, the "sourest and ugliest" of the lot, were deputed to remonstrate with the steward; but this person coolly replied that they had no ground of complaint whatever. "His master had amply fulfilled his bond. Did they fancy their 'sordid' money had bought his freedom to do afterwards what he thought fit?" And he advised them to remove themselves before worse befell them. The Jews retired discomfited; and, as the writer hopes, took warning by what had happened, never again to tempt with their ill-earned wealth "the religious piety of good Christians."
Mr. Browning gives this story, with unimportant variations, in the manner of Baldinucci himself; and does full justice to the hostile and contemptuous spirit in which the attitude of the Jews is described by him. But he also heightens the unconscious self-satire of the narrative by infusing into this attitude a genuine dignity and pathos. He enlists all our sympathy by the Chief Rabbi's prayer that his people, so sorely tried in life, may be allowed rest from persecution in their graves; and he concludes with an imaginary incident which leaves them masters of the situation. On the day after what the historian calls this "pleasing occurrence," the son of the High Priest presented himself at Buti's shop, where he and the so-called "farmer" were still laughing over the event; and in tones of ominous mildness begged to purchase that pretty thing—the picture in oils, from which the fresco painting of the Virgin had been made. He was a Herculean young man, and Buti, who white and trembling had tried to slip out of his way, was so bewildered by the offer, that he asked only the proper price for his work. The farmer, however, broke forth in expressions of pious delight, "Mary had surely wrought a miracle, and converted the Jew!"
The Jew turned like a trodden worm. "Truly," he replied, "a miracle has been wrought, by a power which no canvas yet possessed, in that I have resisted the desire to throttle you. But my purchase of your picture is not due to a miracle. It means simply that I have been cured of my prejudices in respect to art. Christians hang up pictures of heathen gods. Their 'Titians' paint them. A cardinal will value his Leda or his Ganymede beyond everything else which he possesses. If I express wonder at this sacrifice of the truth, I am told that the truth of a picture is in its drawing and painting, and that these are valued precisely because they are true. Why then should not your Mary take her place among my Ledas and the rest; be judged as a picture, and, since—as I fear—Master Buti is not a Titian, laughed at accordingly?"
"So now," the speaker concludes, "Jews buy what pictures they like, and hang them up where they please, and,"—with an inward groan—"no, boy, you must not pelt them." This warning, which is supposed to be addressed by the historian in his old age to a nephew with a turn for throwing stones, reveals the motive of the story: a sudden remembrance of the good old pious time, when Jews might be pelted.