"Therein," replied the professor, "you have a measure of the power of the man's imagination. If he felt no devotion himself, he was able to conceive the frame of mind, and consequent expression of face and feature, in those who did."
Perugino was therefore giving us not the outcome of his own heart and emotions, as Beato Angelico did, but only his imagination of what would be under certain given circumstances the outcome of another man's heart and emotions. Now, may not the same exercise of the imagination account for those special mannerisms which have been noticed as observable in Perugino's figures? The great Umbrian painter was not a man who lived in the companionship and intimacy of the great and noble, as several of his successors of a generation or two later did. He was the son of a piccolo possidente (a small landowner), doubtless cultivating his own fields, and in all respects little removed from the condition of a contadine, or peasant. Look at the speaking portrait of the artist by his own hand which hangs on the wall of the Collegio dell' arti del Cambio in Perugia, the walls of which are covered with immortal frescoes by him. It is a broad, bluff, open face, with abundance of brain-development, with plenty of shrewd intelligence, and not a little of strong volition—the presentation of a strong, highly-gifted and thoroughly self-radiant character, but the last face in the world to have belonged to a man accustomed to sacrifice much to the graces or elegancies of life. Yet this is the man who may be accused, not without some show of reason, of having deemed it desirable to array saints and martyrs in the attitudinizing airs of dancing-masters. Is not the explanation of the inconsistency to be found in the fact that here also the artist was representing not what he felt and was conscious of himself, but what his imagination told him was likely to be the expression of the feelings and consciousness of others?
Much as Signor Moretti has of Peruginesque in the treatment of his art, his figures, especially his male figures, are free from the faults that have been signalized. There is a robust simplicity about them that is far removed from affectation of any kind. In a small darkened room opening off his studio he showed us some portions of his restoration of a painted window belonging to the east end of the church of the Dominicans in Perugia, on which he has been, and will for the next two years be engaged, for the municipality of the city. The window is, as regards dimensions, the finest in all Italy—a noble work of the later but still brilliant period of the art. The state of dilapidation into which it had been allowed to fall was such that, coming restored as it will from Signor Moretti's workshop, it will in many parts be almost equivalent to a new work. The five or six full-sized figures which we saw restored are very grand. I do not know who the original artist may have been—I think that it is not known—but, whoever he was, the design of the figures is as simply grand and as free from affectation as could be wished. And whether the restorer found the remains of the almost destroyed work sufficient to guide him satisfactorily in this respect, or whether their excellence as now seen be due to his own conception, it is clear that the principles of taste on which he has formed his style are free from faults which might have resulted from a servile following of the manner of his great townsman.
One other reason besides the object of directing the attention of the lovers of art to the works of a real and genuine artist has led me to think it desirable to make Signor Moretti and his workshop known to American and English readers. The custom, an excellent one, of putting up in churches or other public buildings painted windows as memorials of those lost to their country or to those dear to them has become common on both sides of the Atlantic; and I am sure that I am giving good counsel to any persons contemplating such an undertaking in recommending them to pay a visit to Signor Moretti's studio at Perugia before finally deciding on giving their commissions.
T. Adolphus Trollope.
A STORY OF AMERICAN CHIVALRY.
"America is the paradise of women," is a foreign proverb that must frequently recur to every American woman who travels or resides in the Old World. Whenever in my Transatlantic journeyings I witness, or hear of, or experience any flagrant act of discourtesy, or injustice arising from contempt of the weaker sex, I am reminded by contrast of an incident which occurred to me in early youth, and which I have often related to astonished, almost incredulous, hearers in Europe, as a specimen of the truly chivalrous sentiments and behavior commonly exhibited by men toward women in every part of our great republic.
Once, when I was a very young girl, it became necessary for me to take a journey of several hundred miles to visit a near relative who lived in the State of Pennsylvania, a little over the New York border. It happened that I was obliged to go alone and in an inclement season of the year, but the circumstances were imperative, and my love of traveling prevented any anticipation of fear or danger.