,,thoughts ,,on ,,art        ,,and      
,,autobiographical ,,memoirs        ,,of
        ,,giovanni ,,dupr               
,,translated ,,from ,,the ,,italian ,,by
        ,e4 ,m4 ,,peruzzi        ,,with 
,,an ,,introduction ,,by ,w4 ,w4 ,,story
          ,,boston      ,,roberts       
,,brothers      #ahhf                   
,copyright1 #ahhf        ,,by ,,roberts 
,,brothers          ,,introduction ,,to 
,,new ,,edition4      ,this book        
contains the record of the life and     
thoughts upon ,art of  ,giovanni ,dupr1 
one of the most eminent sculptors of the
 present century  in ,italy4 ,it was    
written by him from time to time1 during
 the latter  years of his life1 in the  
intervals of work in his studio1 and    
given to  the public about three years  
before his death4 ,those three years1 of
  which it contains no account1 were    
assiduously devoted to his art4 ,every  
day had its work1 and it was done       
faithfully and joyously even to the     
last4 ,nulla dies sine linea4 ,within   

these years1 among other works  of less 
importance1 he successively executed a  
basso-relievo of the  ,baptism of our   
,lord1 a portrait statue of ,pius ,,ix4 
for the ,cathedral of  ,piacenza1 one of
 ,victor ,emmanuel for the public square
 at ,trapani1 one  of ,raimondo ,lullo  
for a chapel in the island of ,majorca1 
and one of ,st  ,francis of ,assisi     
which now adorns the front of the       
,cathedral at ,assisi4  ,this was the   
last statue which he ever made4 ,the    
model he had completed  in clay and cast
 in plaster1 and had somewhat advanced  
in executing it  in marble1 when death  
arrested his hand4 ,it was finished by  
his daughter  ,amalia1 who had for years
 been his loving and faithful pupil1 and
 who  had already won distinction for   
herself as a sculptor4 ,in this his last
  work he found a peculiar              
attractiveness1 and his heart and hand  
were  earnestly given to it4 ,i am most 
happy1 he says in his reply to the      
authorities of ,assisi1 who gave him    

this order1 that the ,commission has    
thought of me1--not so much on account  
of what little talent ,i may  possess1  
as for the love ,i bear to religious    
art4 ,the statue itself is  very simple1
 and informed by a deep religious       
sentiment4 ,it is clothed  in the dress 
of the order which ,st ,francis founded1
 the hands crossed  over the breast1 the
 cowl falling behind1 the head bent1 and
 the eyes  cast down in an attitude of  
submission and devotion4    ,the statue 
had not only deeply interested all his  
feelings and  sympathies1 but in its    
treatment and sentiment he seems to have
 been  satisfied4 ,a singular           
presentiment1 however1 came over him as 
he was  showing it to a friend upon its 
completion4 ,it will be a triumph to you
  and a glory to ,assisi1 said his      
friend4 ,ah1 he answered1 who knows     
that it may not be the last6 ,so indeed 
it proved4 ,but a few days after  this  
conversation he was seized by an attack 
of peritonitis4 ,from this1  however1 he

 recovered1 as well as from a second    
attack1 which shortly  afterwards       
followed4 ,as he was recovering from    
this second attack he  wrote to         
,monsignore ,andrea ,ulli3 ,the doctor  
has no doubt that ,i shall  get well1   
and in a few days ,i hope he will allow 
me to return to my  studio4 ,but how ,i 
have suffered6--doubly suffered from    
having been  deprived of the occupation 
that most delights me4 ,this is my joy  
and my  life4 ,what a happy day it will 
be when ,i am permitted to put my foot  
again into my studio1 and to resume my  
work and my ,st ,francis4    ,his hopes1
 however1 were fated to be disappointed4
 ,although he  sufficiently recovered to
 go to his studio1 he was able to do but
 little  work2 and shortly              
afterwards--on the #ast of ,january--he 
was again  prostrated by a third attack 
of the same disease4 ,his death1 he     
felt1  was now certain2 but he met its  
approach with the courage1 resignation1 
and piety that had always characterised 

him1 looking forward with  certainty to 
a reunion with the dear ones who had    
gone before  him--,luisina1 his         
daughter1 whose loss he had so bitterly 
felt1 and his  wife ,marina1 his        
steadfast help and loving companion for 
so many years1  who had died seven years
 previously4 ,one regret constantly     
possessed him  during these last days1  
that he should not be able1 as he had   
projected1  to model the statue of the  
,madonna for the ,duomo at ,florence1   
upon which  he had set his heart4 ,one  
day when he gave expression to this     
feeling1  his daughter ,amalia sought to
 console him by saying1 ,but you have   
already made her statue1 and it is so   
beautiful--the addolorata for  ,santa   
,croce4 ,ah6 he answered1 but ,i desired
 to model her as ,queen of  ,florence4  
,this apparently was the only desire    
that haunted him during  his last       
attack4 ,in regard to all other things  
he was resigned2 and  after lingering in
 almost constant pain for ten days1 he  

expired on the  #ajth of ,january #ahhb1
 at the age of sixty-five4    ,the      
announcement of his death was received  
everywhere in ,italy with the  warmest  
expressions of sorrow4 ,it was felt to  
be a national loss4 ,his  life had been 
so pure1 so conscientious1 and so       
animated by high  purpose--his temper   
and character had been so blameless and 
free from  envy and stain of any        
kind--he had been so generous and kindly
 in all  the varied relations of life1  
as a son1 as a husband1 as a father1 as 
a  friend1--and he had so greatly       
distinguished himself as a sculptor1    
that  over his grave the carping voice  
of criticism was hushed1 and a          
universal voice of praise and sorrow    
went up everywhere4 ,all classes  united
 to do him reverence1 from the highest  
to the lowest4 ,funeral  ceremonies were
 celebrated in his honour1 not only in  
,florence1 where a  great procession    
accompanied his remains to the church   
where the last  rites were performed1   

but also in ,siena1 his birthplace1 in  
,fiesole1  where he was buried in the   
family chapel1 and in ,antella and      
,agnone4 ,the  press of his native      
country gave expression to high         
eulogiums on him as  an artist and as a 
man4 ,public honours were decreed to    
him4 ,in front of  the house where he   
was born in ,siena1 the municipality    
placed this  inscription3 ,this humble  
abode1 in which was born ,giovanni      
,dupr1  honour of ,art and ,italy1 may  
teach the sons of the people what height
  can be reached by the force of genius 
and will4 ,in the ,parrocchial  ,church 
dell',onda 7in ,siena7 was placed a bust
 of the artist executed by  his daughter
 ,amalia2 and in ,florence1 over the    
house where he had passed  a large      
portion of his life1 a tablet is        
inserted1 on which is inscribed  these  
words3 ,the ,municipality of ,florence1 
in whose council sat  ,giovanni ,dupr1  
has placed this memorial on the house   
where for twenty  years lived the great 

sculptor1 glory of ,italy and of ,art1  
and in which  he died on the #ajth day  
of #ahhb4    ,during his life1 honours  
had been showered upon him at home and  
abroad--honours well deserved and meekly
 borne1 without vanity or  pretension4  
,he had been made a knight and          
counsellor of the ,civil ,order  of     
,savoy1 a member of the ,institute of   
,france1 a knight of the ,tuscan  ,order
 of ,merit and of the ,legion of ,honour
 in ,france1 an officer of the          
,brazilian ,order of the ,rose1 a       
commander of the ,order of the ,corona  
d',italia1 ,mexico and ,guadaloupe1 an  
associate of the ,academy of ,st ,luke1 
and of various other academies in ,italy
 and elsewhere4 ,the ,municipal         
,council of ,siena also commissioned his
 friend and pupil1 ,tito ,sarrocchi1  to
 execute for it a bust of his master in 
marble during his lifetime1 on  which   
was this inscription3 ,to ,giovanni     
,dupr of ,siena1 who to the  glories of 
,italian ,art has added1 by the wonders 

of his chisel1 new and  immortal        
glories4 ,the city of ,siena--xii4 ,july
 #ahfg4    ,his life was a busy and an  
earnest one4 ,during his forty years of 
patient labour he executed about a      
hundred works in the round and in       
relief1 including a considerable number 
of busts and statuettes4 ,of  these1    
perhaps the most important are3 ,the    
statues of ,cain and ,abel1 the         
original bronzes of which are in the    
,pitti ,palace in ,florence1 and by     
which he leaped at once to fame as a    
sculptor2 the group of the ,piet in  the
 cemetery of ,siena2 the large          
bas-relief of the ,triumph of the ,cross
  on the faade of the ,church of ,santa 
,croce in ,florence2 the monument to    
,cavour at ,milan2 the ,ferrari monument
 in ,san ,lorenzo1 with the angel of    
the resurrection2 the ,sappho2 the      
pedestal for the colossal ,egyptian     
,tazza1 with its alto-reliefs1          
representing ,thebes1 ,imperial ,rome1  
,papal  ,rome1 and ,tuscany1 each with  

its accompanying genius2 the portrait   
statue of ,giotto2 the ideal statue of  
,st ,francis2 and the ,risen ,christ4   
,the ,tazza1 the ,piet1 the ,triumph of 
the ,cross1 and the ,risen ,christ1     
were selected by him out of all his     
works to send to the ,french            
,exposition of #ahfg1 and it may        
therefore be supposed that he considered
  them as the best representatives of   
his genius and power4 ,indeed1 in a     
letter to ,professor ,pietro ,dotto     
7#ahff7 he mentions particularly these  
last three as the statues which in      
conception he considers to be the  most 
worthy of praise of all his works4 ,this
 selection also indicates  the religious
 character of his mind and his works4   
,at this ,exposition he  was one of the 
jury on ,sculpture1 and though he gave  
his own vote in  favour of the eminent  
sculptor ,signor ,vela of ,milan1 who   
exhibited on  that occasion his         
celebrated statue of the ,last ,hours of
 ,napoleon ,i41 to  his surprise the    

grand medal of honour was awarded to    
himself4 ,he had  scarcely dared to hope
 for this2 and in his letters to his    
family he  wrote that he considered it  
certain that the distinction would be   
conferred upon ,signor ,vela4 ,when the 
award was made to him1 he wrote a  most 
characteristic letter to his daughter1  
announcing the result4 ,mia  cara       
,beppina1 he says1 ,i have just returned
 from the sitting of the  jury1 and     
hasten at once to answer your dear      
letter4 ,it is true that the  ,napoleon 
,i4 of ,vela is a beautiful statue4     
,there is always a crowd about  it1 and 
consequently every one thought it would 
receive the first prize4  ,i have given 
him my vote2 but the public and ,i and  
you1 ,beppina1 were  wrong4 ,the first  
prize has come to me1 your father6 ,vela
 received two  votes with mine4 ,you    
see1 my dear1 how the ,holy ,virgin has 
answered your  and our prayer4 ,let us  
seek to render ourselves worthy of her  
powerful  protection4    ,it was toward 

the close of his life1 as has already   
been said1 that he  wrote his           
',biographical ,reminiscences and       
,thoughts upon ,art1' of which  the     
present book is a translation4 ,it was  
at once received by the  ,italian public
 with great favour1 and is by no means  
the least  remarkable of his works4 ,it 
would be difficult for any autobiography
 to  be more simple1 honest1 frank1 and 
fearless4 ,the whole character of the   
man is in it4 ,it is an unaffected and  
unpretending record of his life  and    
thoughts4 ,he has no concealment to     
make1 no glosses to put upon the  real  
facts4 ,he speaks to the public as if he
 were talking to a friend1  never posing
 for effect1 never boasting of his      
successes1 never  exaggerating his      
powers1 never assailing his enemies and 
detractors1  never depreciating his     
fellow-artists1 but ever striving to be 
generous  and just to all4 ,there is no 
bitterness1 no envy1 no arrogance to    
deform  a single page2 but1 on the      

contrary1 a simplicity1 a navet1 a      
sincerity of utterance1 which are       
remarkable4 ,the history of his early   
struggles and poverty1 the pictures of  
his childhood and youth1 are  eminently 
interesting2 and the story of his love1 
courtship1 and early  married life is a 
pure ,italian idyl of the middle class  
of society in  ,florence1 which could   
scarcely be surpassed for its truth to  
nature and  its rare delicacy and       
gentleness of feeling4 ,if the          
',thoughts upon ,art'  do not exhibit   
any great profundity of thinking1 they  
are earnest1  instructive1 and          
characteristic4 ,his descriptions of his
 travels in  ,france and ,england2 his  
criticisms and anecdotes of artists and 
persons  in ,florence2 his account of   
his daily life in his studio and at his 
home1--are lively and amusing4          
,altogether1 the book has a special     
charm  which it is not easy to define4  
,in reading it1 we feel that we are in  
the presence and taken into the         

confidence of a person of great         
simplicity and purity of character1 of  
admirable instincts and  perceptions1 of
 true kindness of heart1 and of a       
certain childlike  navet of feeling and 
expression1 which is scarcely to be     
found out  of ,italy4    ,in respect of 
style1 this autobiography resembles more
 the spoken than  the written literary  
language of ,italy4 ,it is free1        
natural1 unstudied1  and often careless4
 ,but its very carelessness has a charm4
 ,dupr was not  a scholar nor a literary
 man4 ,he was not bound by the rigid    
forms of  what is called in ,italy lo   
stile1 which but too often is the enemy 
of natural utterance4 ,undoubtedly this 
book needs compression2 but no          
exactness of style and form could       
compensate for the absence of that      
unstudied natural ease and familiarity  
which are among its greatest  charms4   
,the writer1 fortunately for the reader1
 is as unconscious of  elaborated style 
as ,monsieur ,jourdain was that he was  

talking prose4 ,the  character of       
,dupr's writing has been admirably      
caught and reproduced by  ,madame       
,peruzzi1 in the translation to which   
these few words may serve as  preface4  
,as an artist1 ,dupr was not endowed    
with a great creative or imaginative    
power4 ,his spirit never broke out of   
the ,roman ,church in which he was      
brought up1 and all that he did and     
thought was coloured by its  influence4 
,the subjects which he chose in         
preference to all others were  of a     
religious character1 and his works are  
animated by a spirit of  humility and   
devotion1 rather than of power and      
intensity4 ,his  piety--and he was a    
truly pious man--narrowed the field of  
his  imagination1 and restricted the    
flights of his genius4 ,but even his    
failings leaned to virtue's side1 and   
what he lacked in breadth of            
conception1 was compensated by his deep 
sincerity of purpose and  religious     
feeling4 ,he was not a daring           

creator--not an originator of           
ideas--not a bold discoverer4 ,he hugged
 the shore of his ,church4 ,he  wanted  
the passion and overplus of nature that 
might have borne him to  new heights1   
and new continents of thought and       
feeling4 ,his ,cain1 almost  alone of   
all his works1 breathes a spirit of     
defiance and rebellion1 and  breaks     
through the limitations of his usual    
conceptions4 ,but it was not  in harmony
 with his genius2 and in natural        
expression it falls so far  below his   
previous statue of ,abel1 that it was   
epigrammatically said  that his ,abel   
killed his ,cain4 ,there was undoubtedly
 a certain truth in  this criticism1 for
 though the ,cain is vigorously         
conceived and  admirably executed1 the  
heart of the man was not in it1 as it   
was in the  gentle and placid figure of 
,abel4 ,in mastery of modelling and     
truth to  nature1 this latter statue    
could scarcely be surpassed4 ,indeed1 so
  remarkable was it for these qualities1

 that it gave rise in ,florence to  the 
scandalous calumny that it had been     
cast1 not modelled1 from  nature1--a    
calumny which1 it is scarcely necessary 
to add1 was as false  in fact as it was 
inconsistent with the honest and lofty  
spirit of  ,dupr2 and which1 though     
intended as a reproach1 proved to be the
  highest testimonial to the            
extraordinary skill of the artist4      
,within the bounded domain of thought   
and conception which his religious      
faith had set for him1 he worked with   
great earnestness and devotion of       
spirit4 ,though he created no works     
which are stamped by the audacity of    
genius1 or intensified by passion1 or   
characterised by bold originality  and  
reach of power1 yet the work he did do  
is eminently faithful1  admirably       
executed1 and informed by knowledge as  
well as feeling4 ,his  artistic honesty 
cannot be too highly praised4 ,he spared
 no pains to  make his work as perfect  
as his powers would permit4 ,he had an  

accurate  eye1 a remarkable talent for  
modelling from nature1 and an           
indefatigable  perseverance4 ,he never  
lent his hand to low1 paltry1 and       
unworthy work4  ,art and religion went  
hand in hand in all he did4 ,he sought  
for the  beautiful and the noble--sought
 it everywhere with an inquiring and    
susceptible spirit2 despised the brutal1
 the low1 and the trifling2  never      
truckled to popularity1 or sought for   
fame unworthily2 and scorned  to degrade
 his art by sensuality4 ,as the man was1
 so his work was--pure1  refined1       
faithful to nature and to his own       
nature4 ,he pandered to no low          
passions2 he modelled no form1 he drew  
no line1 that dying he could wish  to   
blot2 and the world of ,art is better   
that he has lived4 ,while he bent  his  
head to ,nature1 the whole stress of his
 life as an artist was to  realise his  
favourite motto1 ,il vero nel bello--the
 true in the  beautiful4    ,his last   
letter1 written only three days before  

his final attack1 was  addressed to his 
friend ,professor ,giambattista         
,giuliani1 and as it  breathes the whole
 spirit of the man1 it may form a fit   
conclusion to  these few words3 ,my     
excellent friend1--,we also1 ,amalia and
 ,i1 wish you  truly from our hearts1   
now and always1 every good from our     
blessed  ,god--perfect health1 elevation
 of spirit1 serene affections1 peace of 
heart in the contemplation of the       
beautiful and the good1 and the         
immortal hope of a future life1 that    
supreme good that the modern  ,sadducees
 deny--unhappy beings6        ,w4 ,w4   
,,story4          ,,preface4      ,do   
you know1 ,i said to a friend six months
 ago1 while ,i was looking  over the    
rough draft of my memoirs1 that ,i have 
decided to print them8  ,you will do    
well1 he answered2 but you must write a 
preface--a bit of  a preface is         
necessary4 ,i do not think so1 ,i said4 
,in my opinion the  few words on the    
first page will suffice4 ,my friend read

 over the first  page and replied1      
,that's enough4    ,now1 however1 a     
couple of words do not seem to me       
superfluous1--first1  in order that ,i  
may express my surprise and pleasure    
that my book1  written just as it came  
to me1 has been received with so much   
kindness2  and then to explain that this
 second edition has been enlarged by    
some  additions and necessary notes4    
,the additions do not form an appendix1 
but are inserted in the chapters1 each  
in its proper place4    ,it did not seem
 advisable to me1 as it did to some     
other persons1 to  enlarge this book by 
letters1 documents1 and other writings  
of mine4 ,i  thought this would         
interfere with the simplicity and       
brevity of my first  plan4    ,in       
re-reading this book1 ,i admit that ,i  
have found passages here and  there     
which ,i felt tempted to correct1 or    
rather to polish and improve  in style1 
but ,i have let them go4 ,who knows that
 ,i should not have made  them worse8   

,it seems to me 7perhaps ,i am wrong7   
not to perceive in good  writers the    
labour1 the smoothing1 and the          
transposition of words1 and  so on1 but 
a rapid and broad embodiment of the idea
 in the words that  were born with it4  
,one last and most essential word ,i    
have reserved for the end as a bonne    
bouche4 ,some persons have excusably and
 pleasantly observed that to  write a   
book about one's self while the author  
is living is both very  difficult and   
rather immodest4 ,i replied to them1    
both by word of mouth  and through the  
press1 that although on account of my   
life and works ,i  had studied to be as 
temperate and unpretentious as the truth
 and the  facts would allow1 still here 
and there my narrative with regard to   
some  persons might not be agreeable1   
and therefore after my death it might be
  discredited or denied4 ,no1 this must 
not be1 ,i said1 and say again4 ,i am   
alive1 and am here to correct everything
 at variance with the truth1 and  also  

7,i wish to be just7 what is wanting in 
chivalrousness4          ,,note ,,by    
,,translator4      ,in making the       
present translation of the ,memoirs of  
,giovanni ,dupr1 one  of two courses had
 to be taken--either to turn the whole  
into pure  idiomatic ,english1 or to    
follow1 with a certain degree of        
literalness1  the peculiar forms of     
expression1 and the characteristic      
style1 or  absence of style1 of the     
original4 ,i have chosen the latter     
course1 in  order1 as far as in me lay1 
to convey the individuality of the      
author1  and the local colour and       
character of his book4 ,this would to a 
great  degree have been lost had ,i     
attempted to render into purely ,english
  idiom a work that is not only written 
in a careless1 familiar1 and            
conversational form1 and abounds in     
turns of expression which are           
essentially ,florentine1 but derives its
 interest1 in part at least1 from  this 
very peculiarity4        ,e4 ,m4 ,p4    

,,contents4      ,,chapter ,i4          
,,page        ,my motive for writing    
these ,memoirs--,my father's            
family--,removal      of the family to  
,florence--,my childhood--,my father    
takes me to      ,pistoia1 but ,i run   
away from his house to return to my     
mother--,from ,pistoia ,i go with my    
father to ,prato--,my first      study  
in drawing--,strong impression made upon
 me by an old      print--,my father's  
opposition to my studies--,my sorrow at 
being      so far from my mother--,i run
 the risk of being burnt--,having       
grown tall1 fears are entertained for my
 health--,i return to my      mother at 
,florence and work with ,ammanati--,i go
 to ,siena and      study ornate design 
in the ,academy--,carlo ,pini gives me  
lessons      in drawing the human       
figure--,signor ,angelo ,barbetti's     
prophecy--,i run away from ,siena1 and  
on foot go to my mother at              
,florence--,signor ,paolo ,sani--,death 
of my sister ,clementina--,my           

mother's infirmity of eyesight--,my     
brother ,lorenzo goes to the            
poorhouse--,my aversion to learn reading
 and writing--,my first      library1   
and inexperience of books1              
#a    ,,chapter ,,ii4        ,without   
knowing it1 ,i was doing what ,leonardo 
advises--,new way      of decorating the
 walls of one's house--,i wish to study 
design      at the ,academy1 but cannot 
carry this into effect--,a bottle of    
anise-seed cordial--,intelligent people 
are benevolent1 not so      those of    
mediocre minds--,the statues in the     
,piazza della      ,signoria and        
alabaster figures--,the discovery of a  
hidden      well--,my father returns    
home without work1 and leaves for       
,rome--,young ,signor ,emilio del       
,fabris--,sea-baths and cholera at      
,leghorn--,with help ,i save a woman    
from drowning--,i go to ,san      ,piero
 di ,bagno--,my uncle the provost       
dies--,my father returns      from      
,rome1 and settles in ,florence--,my    

work1 a group of a ,holy      ,family1  
is stolen--,description of this group1  
#ah    ,,chapter ,,iii4        ,a       
punishment well deserved1 and my        
satisfaction--,different      times1    
different customs--,the use of the birch
 given up in      schools--,a           
portrait--,companions and bad           
habits--,how ,i became      acquainted  
with my dear ,marina--,my first time of 
speaking with      her--,difficulty to  
obtain my mother's consent to our       
marriage--,she makes trouble1 thinking  
to do well--,i am sent away      from my
 betrothed1 and return to bad           
habits--,an escapade--,the      public  
baths of ,vaga-,loggia--,my clothes     
stolen1                 #ce    ,,chapter
 ,,iv4        ,return to the house of my
 betrothed1 and put an end to my        
thoughtless ways--,a talking parrot--,he
 who does not wish to read      these   
pages knows what he has to do--,how ,i  
went to prison1 and      how ,i passed  
my time there--,the ,death of           

,ferruccio1 by the      painter         
,bertoli--,signor ,luigi ,magi1 the     
sculptor--,how ,i learnt      to become 
economical--,shirts with plaited        
wrist-bands--,the first      love-kiss1 
and a little bunch of lemon-verbena--,my
 marriage--,my      wife has doubts as  
to my resolution of studying            
sculpture--,pacetti's shop in ,palazzo  
,borghese--,i sell the ,santa           
,filomena to a ,russian1 who            
re-christens her ,hope--,i begin to     
work on marble--,i make a little        
crucifix in boxwood1 which is           
bought by ,cav4 ,emanuel ,fenzi--,verses
 by ,giovanni ,battista      ,niccolini1
                                        
#eb    ,,chapter ,v4        ,a warning  
to young artists--,professor ,cambi's   
propositions--,a      financial problem3
 to increase gain by diminishing the    
means      that produce it--,i leave    
,sani's shop to have more time and      
liberty to study--,an imitation is not  
so bad1 but a      falsification is     

indeed an ugly thing--,the ,marchesa    
,poldi and a      casket1 supposed to be
 an antique--,how a master should       
be--,the      death of my mother1       
,september #ahdj--,opinion of the       
,academy--,the      ,tipsy              
,bacchante--,a divided vote--,the       
,cariatidi of the      ,rossini ,theatre
 at ,leghorn1                           
#gb    ,,chapter ,,vi4        ,an unjust
 law--,the ,abel--,brina the model and  
,i in danger of      being              
asphyxiated--,my first                  
request--,benvenuti wishes to change    
the name of my ,abel for that of        
,adonis--,i invite ,bartolini to        
decide on the name of my                
statue--,bartolini at my studio--,his   
advice and corrections on the           
,abel--,lorenzo ,bartolini--,giuseppe   
,sabatelli--,exhibition of the          
,abel--,it is said to be cast from      
life--,i ask for a small studio1 but do 
not obtain it--,my second      and last 
request--,the ,president ,antonio       

,montalvo--,i don't      succeed somehow
 in doing anything as ,i should--,i talk
 over      matters at home--,count del  
,benino a true friend and true          
benefactor--,his generous action1       
#hi    ,,chapter ,,vii4        ,the     
,grand ,duchess ,maria of ,russia and   
the commission for the      ,cain and   
,abel--,the ,prince of ,leuchtenberg and
 a plate of      caviale at ,caff       
,doney--,an unusual amusement that did  
some      good--,again the generosity of
 ,count del ,benino--,bartolini's       
,hunchback1 and in consequence a return 
to the ,abel--,bartolini      gets angry
 with me--,examination of the           
materialistic or      realistic in      
art--,effects of the realistic--,do not 
have girls      alone by themselves for 
models--,subscription got up by the     
,sienese to have my ,abel executed in   
marble--,a new way of curing      a     
cough--,signora ,letizia's receipt1 who 
sent it and paid for it                 
herself--,one must never offer works    

gratis1 for they are not                
accepted--,the ,grand ,duchess ,marie   
,antoinetta orders the ,giotto      for 
the ,uffizi--,has ,abel killed          
,cain8--,statue of ,pius ,,ii4--,a      
foolish opinion and impertinent         
answer--,i defy the law that            
prohibits eating1                       
#aaj    ,,chapter ,,viii4               
,literati at my studio1 and their       
influence on my      work--,calamatta's 
opinion of ,tenerani1 of ,bartolini1 and
 of      myself--,his defence of my     
,abel in ,paris--,pius                  
,,ii4--,academicians      and           
,naturalisti--,luigi ,venturi--,prince  
,anatolia ,demidoff and      the        
,princess ,matilde--,the statuette in   
clay of the ,princess      ,matilde is  
destroyed--,our minister ,nigra presents
 me to the      ,emperor ,napoleon      
,,iii4--,beauty does not exist outside  
of      nature--,praise puts one to     
sleep--,the incoherence of ,bartolini1  
#aci    ,,chapter ,,ix4        ,the     

political reforms of the year #ahdg in  
,tuscany--,my first                     
scholars--,ciseri1 ,prati1 ,aleardi1    
,fusinato1 ,coletti1 and      ,chiarini 
the improvisatore--,inedited verses by  
,prati--,giuseppe      ,verdi--,a       
digression on artistic                  
individuality--,the ,emperor of         
,russia's visit to my                   
studio--,reactionary movement of the    
#abth of      ,april #ahdi--;,i am in   
danger of my life--,the return of the   
,grand      ,duke1                      
#aei    ,,chapter ,x4        ,my wife1  
my little girls1 and my work--,death of 
my brother      ,lorenzo--,death of     
,lorenzo ,bartolini--,the base for the  
,tazza--,eight years of work1 only to   
obtain a living--,mussini      and his  
school--,pollastrini--,the school in    
,via      ,sant',apollini--,prince      
,demidoff and the monument by           
,bartolini--,the ,nymph of the ,scorpion
 and the ,nymph of the      ,serpent1 by
 ,bartolini--,marchese ,ala--,count     

,arese--,the four      statuettes for   
,demidoff--,amerigo of the ,prince      
,corsinis--,his      ,royal ,highness   
,count of ,syracuse1 a                  
sculptor--,sant',antonino      statue at
 the ,uffizi1                           
#agi    ,,chapter ,,xi4        ,close   
imitation from life--,my illness--,i am 
in danger of losing      my life--,luigi
 del ,punta1 head physician at          
,court--,the ,grand      ,duke furnishes
 me with the means for going to         
,naples--,i leave      for ,naples--,a  
beggar impostor--,another and my        
boots--,sorrento--,my ,neapolitan       
friends--,professor ,tartaglia and      
the hydropathic cure--,the museum at    
,naples--,let us study the      good    
wherever it is to be found--,a strange  
presentation1       #bjc    ,,chapter   
,,xii4        ,pompeii--,a              
cameo--,sketch for the ,bacco della     
,crittogama--,professor ,angelini the   
sculptor--,one must not offer      one's
 hand with too much freedom to          

ladies--,a hard-hearted      woman with 
small intelligence--,the ,san ,carlo1   
the ,san ,carlino1      the ,fenice1 and
 the ,sebeto--,monument by ,donatello at
 ,naples--,the      ,barocco and        
mistaken opinions--,dilettanti in the   
fine      arts--,prince ,don ,sebastian 
of ,bourbon--,is the beard a sign of    
being ,legitimist or ,liberal8--,i am   
taken for a prince or      something    
like one--,the bottle for doorkeepers   
and custodi      of the public museums  
of ,naples--,phidias1 ,demosthenes1 and 
,cicero all against ,ruggero ,bonghi1   
#bbc    ,,chapter ,,xiii4        ,never 
make a present of your works--,pope     
,rezzonico by                           
,canova--,tenerani--,overbeck's         
theories--,minardi and his school--,a   
woman from the ,trastevere who looked   
like the ,venus of                      
,milo--,conventionalists and            
,realists--,an ambitious question and   
bitter answer--,filippo ,gualterio1     
#bdb    ,,chapter ,,xiv4        ,the    

nude--,the statue of                    
,david--,rauch--,the base of the        
,tazza--,the      chapel of the ,madonna
 del ,soccorso--,sepulchral monuments   
for ,san      ,lorenzo--,the #bgth of   
,april #ahei--;,count ,scipione         
,borghesi--,a      group of the         
,deluge--,competition for ,wellington's 
monument1 and      a great help1        
#bei    ,,chapter ,,xv4        ,patience
 a most essential virtue--,trust was a  
good man1 but      ,trust-no-one a      
better--,a competition either attracts  
or drives      away men of talent--,a   
study from life of a lion by            
,marrocchetti--,assistant               
modellers--,sydenham and its            
wonders--,one      of ,abel's           
fingers--,new judgment of ,solomon--,an 
important      question--,an ,indian who
 speaks about things as they            
are--,professor ,papi and the failure of
 the first cast in bronze      of the   
,abel--,a medicine not sold by the      
chemist1             #bgg    ,,chapter  

,,xvi4        ,on the study of          
expression from life--,the care one must
 take in      making studies from       
life--,a genre picture and ,raphael's   
cartoon of the ,massacre of the         
,innocents--,i lose myself in           
,london--,the housemaid at ,hotel       
,granara--,the inconvenience of         
being ignorant and                      
absent-minded--,ristori and ,piccolomini
 in      ,london--,the cartoons of      
,raphael at ,hampton ,court--,fantasy   
runs      away with me--,a curious but  
just law--,the result of fasting--,the  
villa of ,quarto and a prince's early   
hour--,again of ,prince      ,demidoff1 
#cja    ,,chapter ,,xvii4        ,my    
father's death--,a turn in the          
omnibus--,the ,ferrari      monument--,i
 keep the ,sappho for myself--,the      
,tired ,bacchante      and the little   
model--,raphael and the ,fornarina--,the
 ,madonna and      bas-reliefs at ,santa
 ,croce and ,cavaliere ,sloane--,my     
daughter      ,amalia and her works--,my

 daughter ,beppina--,description of the 
bas-relief on the faade of ,santa       
,croce--,i am taken for the      wrong  
person by the ,holy ,father ,pius       
,,ix4--,marshal      ,haynau--,professor
 ,bezzuoli and ,haynau's portrait1      
#cbb    ,,chapter ,,xviii4        ,one  
of my colleagues--,a mysterious         
voice--,the group of the                
,piet--,very clear ,latin--,a professor 
who ignores the ',divina                
,commedia'--,composition of the group of
 the      ,piet--,digression--,a good   
lesson and nervous                      
attack--,mancinelli and ,celentano1     
#cde    ,,chapter ,,xix4        ,a      
prophetic dream--,giovanni              
,strazza--,signor ,vonwiller and        
societies for promoting art--,return    
from ,naples to ,rome1 and my           
daughter ,luisina's illness--,our return
 to ,florence--,death of      ,tria the 
model--,the ,mossotti monument at       
,pisa--,how it was that ,i      did not 
make the portrait of his ,majesty the   

,king--,the      competition for        
,cavour's monument--,i go to ,turin to  
pass      judgment on it--,the ,christ  
after the ,resurrection1 a              
commission of ,signor ,filippi di       
,buti--,religious art and               
,alessandro ,manzoni and ,gino          
,capponi--,thought is not               
free--,cavour's monument--,the          
description of it1                #cfe  
,,chapter ,,xx4        ,allegories in   
art--,the ,monga monument at            
,verona--,of my late      daughter      
,luisina--,her death--,how ,i was       
robbed--,monsignore      ,archbishop    
,limberti's charitable project--,one of 
my      colleagues--,nicol ,puccini and 
the statue of ,cardinal                 
,forteguerri--,cesare                   
,sighinolfi--,cardinal ,corsi1          
,archbishop of      ,pisa1              
#che    ,,chapter ,,xxi4        ,the    
,universal ,exhibition at ,paris in     
#ahfg--,the imitators of                
,vela--,inedited music by ,rossini and  

,gustave ,dor--,domenico                
,morelli--,group of ,prince ,trabia's   
children and the      thieves--,stick no
 bills--,the statue of ,marshal         
,pallavicini--,the ,empress ,maria      
,teresa and ,marshal ,pallavicini--,a   
memorial monument to ,fra ,girolamo     
,savonarola--,the ,universal            
,exhibition at ,vienna--,a tiny         
room--,excellent and very dear--,on     
harmony of sounds--,on the harmony in   
the animal world--,the      harmony of  
the human form as manifested by the     
inner beauty of      the soul--,the     
campanile of ,st ,stephen's and         
,canova's monument1                     
#djb    ,,chapter ,,xxii4        ,the   
palace of the ,exhibition at            
,vienna--,why1 with my attributes       
of ,president1 ,i was in such           
haste--,michael ,angelo and             
,garibaldi--,a ,viennese cabman--,the   
,camerini monument--,duke               
,camerini--,an anecdote of his          
life--,statue of ,michael ,angelo in    

the future--,the centenary festival of  
,michael ,angelo--,signora      ,adelina
 ,patti--,a greedy young man of little  
judgment--,the ,favard      monument1   
#dah    ,,chapter ,,xxiii4        ,pius 
,,ix4 objects to having me make his     
bust--,i go to ,rome to see      the    
,pope--,the ,exhibition at              
,naples--,again on idealism and         
naturalism--,the masters of ,italian    
melody--,vincenzo ,bellini and      his 
monument--,conclusion1                  
#dch    ,,index1                        
#dec          ,,autobiographical        
,,memoirs    ,,of    ,,giovanni ,,dupr4 
,,chapter ,i4         ,,my ,,motive     
,,for ,,writing ,,these ,,memoirs--,,my 
,,father',s       ,,family--,,removal   
,,of ,,the ,,family ,,to                
,,florence--,,my ,,childhood--,,my      
,,father ,,takes ,,me ,,to ,,pistoia1   
,,but ,i ,,run ,,away ,,from ,,his      
,,house ,,to       ,,return ,,to ,,my   
,,mother--,,from ,,pistoia ,i ,,go      
,,with ,,my ,,father ,,to               

,,prato--,,my ,,first ,,study ,,in      
,,drawing--,,strong ,,impression ,,made 
,,upon       ,,me ,,by ,,an ,,old       
,,print--,,my ,,father',s ,,opposition  
,,to ,,my ,,studies--,,my       ,,sorrow
 ,,at ,,being ,,so ,,far ,,from ,,my    
,,mother--,i ,,run ,,the ,,risk ,,of    
,,being       ,,burnt--,,having ,,grown 
,,tall1 ,,fears ,,are ,,entertained     
,,for ,,my       ,,health--,i ,,return  
,,to ,,my ,,mother ,,at ,,florence ,,and
 ,,work ,,with       ,,ammanati--,i ,,go
 ,,to ,,siena ,,and ,,study ,,ornate    
,,design ,,in ,,the                     
,,academy--,,carlo ,,pini ,,gives ,,me  
,,lessons ,,in ,,drawing ,,the ,,human  
,,figure--,,signor ,,angelo             
,,barbetti',s ,,prophecy--,i ,,run      
,,away ,,from       ,,siena1 ,,and ,,on 
,,foot ,,go ,,to ,,my ,,mother ,,at     
,,florence--,,signor ,,paolo            
,,sani--,,death ,,of ,,my ,,sister      
,,clementina--,,my ,,mother',s          
,,infirmity ,,of       ,,eyesight--,,my 
,,brother ,,lorenzo ,,goes ,,to ,,the   

,,poorhouse--,,my ,,aversion       ,,to 
,,learn ,,reading ,,and ,,writing--,,my 
,,first ,,library1 ,,and                
,,inexperience ,,of ,,books4      ,i    
have often thought that perhaps it would
 be well for me to leave some  written  
memoirs of my life--not only for the    
sake of my family1 but also  for the    
young artists of the future2 but ,i have
 hitherto been deterred  from so doing  
by the fear lest ,i might seem to have  
been prompted by  pride and vanity4     
,since1 however1 various notices of my  
life and my  doings in art have been    
made public1 it may not be either       
without  interest1 or indeed without a  
certain utility1 if ,i venture now to   
speak  at length on these subjects2 for 
it seems to me that these memoirs may   
not only serve as an encouragement to   
timid but well-disposed youths1  but may
 at the same time be a severe admonition
 to those who1 presuming  too much on   
themselves1 imagine that with little    
study and great  boldness they can wing 

their way up the steps of ,art instead  
of  laboriously climbing them4          
,sidenote3 ,,my ,,father',s ,,family4   
,my father was ,francesco ,dupr1 the    
youngest son of ,lorenzo ,dupr1 who     
came to ,siena with the princes of      
,lorraine4 ,my grandfather kept a       
draper's shop in the ,piazza del ,campo1
 where at first1 through his  activity  
and honesty1 his business so prospered  
that he was able to give  his family a  
good education2 and my father was just  
entering on the  course of studies that 
his brothers had already finished1 when 
my  grandfather1 through the ignorance  
and bad faith of his debtors and his    
own determination to be honest himself1 
was reduced to poverty4 ,in  consequence
 of this1 my father was obliged to      
discontinue his studies1  and to set to 
work to learn a trade1 in order that he 
might earn his  bread as soon as        
possible2 and thinking to derive some   
advantage from  the studies he had      
already made in drawing1 he apprenticed 

himself to a  wood-carver4 ,later he    
married ,victoria ,lombardi of ,siena1  
and she was my  mother4 ,i was born on  
the #ast of ,march #ahag1 in ,via ,san  
,salvadore1 in  the ,contrada           
dell',onda1 and lived in ,siena until ,i
 was four years old4  ,my family then   
removed to ,florence1 where my father   
went1 at the request  of the            
wood-carver1 ,signor ,paolo ,sani1 to   
help him in the execution of  some      
intaglio decorations in the ,palazzo    
,borghese1 which the ,prince  was       
anxious to have finished within the     
shortest possible time4 ,my             
recollections of those early days are   
not worth recording4 ,i grew up  from a 
little boy going with my father to the  
shop4 ,i had a few lessons  in the      
,catechism and in reading from a        
schoolmistress who lodged in our  house4
 ,in the evening my babbo#a used to read
 and explain some ,latin  book 7,i do   
not remember what it was71 perhaps for  
the innocent  satisfaction of letting us

 know that he had studied that language1
 but  certainly with no profit to me1   
who understood nothing and was greatly  
bored4 ,when1 however1 he gave me some  
of his designs of ornamentation1  such  
as leaves1 arabesques1 and friezes1 to  
copy1 ,i was very happy4 ,the  time     
passed without my knowing it2 and such  
was my delight in this  occupation1 that
 ,i often put off the hour of supper or 
sleep and gave up  any amusement for it4
 ,at home we lived very poorly4 ,my     
father earned  little1 for his work was 
badly paid1 and by nature he was slow4  
,this  poverty of our daily life began  
to disturb the relations between my     
father and mother4 ,the family had      
increased1 and besides my eldest  sister
 ,clementina1 who died soon afterwards1 
were born ,lorenzo and  ,maddalena4 ,i  
remember the sharpness of the tones1 but
 not the sense of  the words that passed
 between my parents2 and the tears of my
 mother and  sullen silence of my father
 frightened us little ones1 and filled  

us  with sadness4     #a ,babbo is the  
familiar word for father in ,tuscany4   
,sidenote3 ,,family ,,and ,,childhood4  
,it was impossible that such a state of 
things could last long1 and my  father  
decided to leave ,florence and go to    
,pistoia1 where he thought he  could    
earn more money4 ,i was destined to     
follow him1 while the others  remained  
with my mother4 ,for more than three    
years ,i stayed with him4 ,my  life was 
sad for me here1 as the distance from my
 mother made it almost  unbearable2 and 
all the more so because my father1      
whenever he went to  ,florence to see   
her1 as he sometimes did1 always left me
 behind him1  alone1 at ,pistoia4 ,once1
 when ,i was barely seven years old1 ,i 
ran away  from the house1 and went on   
foot to ,florence1 although ,i knew for 
a  certainty that ,i should have to pay 
dearly for the kisses and caresses  of  
my mother by a thrashing from the babbo4
 ,nor was ,i mistaken3 ,i got  the      
thrashing1 and was brought back4        

,sidenote3 ,,longing ,,to ,,be ,,an     
,,artist4    ,about this time there     
awoke in me a certain sentiment and     
longing to try  to draw the human       
figure--leaves and grumoli had begun to 
weary me2  and this desire was developed
 in an odd way4 ,there was in ,pistoia1 
in  the house of a certain gilder named 
,canini1 a little theatre for  puppets1 
and one of the characters1 which was    
wanted for a certain  performance1      
happened to be missing4 ,canini1 who was
 a friend of my  father1 was much put   
out by this loss1 and came to beg my    
father to make  the head and hands for  
the puppet4 ,he answered that he could  
not do  this1 as he had never attempted 
anything in the way of figures2 and the 
poor gilder1 who was director and       
proprietor of the company1 was at a     
loss to know where to turn4 ,i1 with the
 utmost effrontery1 then offered  to    
make the head and hands myself2 and as  
,canini was hopeful as well as          
incredulous1 and my father gave a sort  

of half consent1 ,i set to work1  and   
succeeded so well that my puppet turned 
out to be the most beautiful  personage 
of the company4 ,the happy result       
encouraged me to go on1 and  ,i remade  
almost all the puppets4 ,i also made    
some small ducks in cork1  that were to 
appear in a pond1 and were moved about  
here and there by  silk threads4 ,it was
 a pleasure to see the little           
creatures--they turned  out so well1 and
 had such a look of reality2 and this ,i
 was enabled to  give them because in   
the court of our house there were some  
ducks which  ,i could copy from life4   
,ah1 ,nature6 not only is it a great    
help1 but it  is the principal          
foundation of ,art6    ,sidenote3 ,i    
,,go ,,to ,,prato4    ,sidenote3 ,,my   
,,first ,,drawings4    ,from ,pistoia   
the babbo took me to ,prato1 where he   
had been requested  to go by the gilder 
,signor ,stefano ,mazzoni4 ,there we    
took up our abode  in a street and court
 called ,il ,giuggiolo4 ,in the same    

house1 and almost  with us1 lived a man 
from ,lucca1 who made little            
plaster-images1 and was  one of the many
 who go about the streets selling little
 coloured figures  for a few sous4 ,this
 connection1 ridiculous as it may       
appear1 inspired  me more and more with 
a desire for the study of figures4 ,it  
is true  these figures and parrots and  
clowns were ugly2 but1 at the same time1
  their innocent ugliness attracted me1 
and filled me with a longing1 not       
indeed to imitate them1 but to do       
something better4 ,in turning over my   
father's papers and designs1 ,i found a 
quantity of prints1  fashion-plates of  
dresses1 landscapes1 and animals1 and   
particularly 7,i  remember it so well   
that ,i could draw it now7 a large print
 representing  the building of the      
,temple of ,jerusalem4 ,in the distance 
you saw the  building just begun1 and   
rising a little above its foundations4  
,carts  loaded with heavy materials and 
tall straight timber 7the cedars of     

,lebanon7 were dragged along by a great 
many oxen and camels1 amid a vast       
number of people and things4 ,on all    
sides were workmen of every kind1  some 
carving the columns1 some putting up a  
jamb and squaring it1 some  sawing      
timber1 and some busied in making       
ditches2 others were talking1  or       
listening1 or admiring3 and all the     
scene was animated with a truly         
marvellous life4 ,in the foreground you 
saw the majestic figure of  ,solomon1   
surrounded by his ministers and         
soldiers1 showing his architect  7with  
his scholars7 the designs of the        
,temple4 ,in fact1 it was a  wonderful  
thing to behold1 and ,i was so enchanted
 that ,i could not  sleep for thinking  
of it1 for it seemed to me impossible   
that any man  could imagine and execute 
anything so marvellous4 ,my little head 
seemed  on fire1 it was so full of these
 figures4 ,i tried at first to copy in  
part this print1 which1 above all the   
others1 had taken my fancy2 but ,i  did 

not succeed1 and ,i was so discouraged  
that ,i sat down and cried4 ,and  not   
for this only ,i cried1 but also because
 my father looked with so  unfavourable 
eye on these efforts of mine--they      
seeming to him quite  unnecessary for an
 intagliatore--that1 in order to go on  
with these  studies1 ,i was obliged to  
hide myself almost1 and to work in spare
  moments4 ,finding this print so       
complicated that ,i could in no way copy
  it1 ,i then undertook to copy the     
little costume-figures that ,i found    
amongst the prints4 ,these1 one by one1 
,i drew during the evening1 after  my   
father had gone to bed and was asleep2  
and sometimes it happened that  ,i fell 
asleep over my drawing1 and on waking   
found myself in the dark1  with the     
little lamp gone out4 ,this constant    
exercise1 to which ,i gave  myself every
 day with great ardour1 so trained my   
hand and practised my  eye1 that my last
 drawings were made with little or no   
erasures4    ,but though ,i derived a   

good deal of satisfaction from these    
small  drawings1 my heart was still     
oppressed at being so far from my       
mother4 ,i  longed to see her1 and have 
her near me1 and begged my father to    
take me  to her1 or at least to send me 
to her by the carrier2 but wishes and   
prayers were useless4 ,my father went   
sometimes1 it is true1 to see her2  but 
although ,i was only seven or eight     
years of age1 ,i had to remain  behind  
at ,prato to look after the house4 ,i do
 not wish to blame my  father1 but      
neither then nor since have ,i been able
 to understand his  notions of things2  
and certainly1 to keep a little boy     
alone by himself  in a house1 and often 
for several days together1 is not to be 
recommended4 ,one evening ,i remember1  
when1 having fallen asleep while        
reading at the table1 with my head bent 
near the lamp1 my little cap  caught on 
fire1 and ,i woke up with my hair in    
flames4 ,but this  adventurous          
life--beaten about1 thwarted in all my  

wishes and in all my  affections--formed
 my character4 ,i became accustomed to  
suffer1 to  persevere1 and to obey1     
while ,i always kept alive those desires
 and  affections which my conscience    
assured me were good4    ,sidenote3 ,,an
 ,,accident--,,delicate ,,health4       
,about this time1 what with continuous  
study1 hardish work in my father's      
shop1 and the melancholy that weighed   
upon me because ,i could not see my     
mother1 my health began to fail4 ,even  
before this1 and indeed from my  birth1 
,i had always been delicate1 but now ,i 
became so pale and weak  that every one 
called me il morticino 7the little dead 
fellow74 ,a  physician who examined me  
about this time talked seriously to my  
father  about me on the subject1 telling
 him that ,i ought to rest longer in the
  mornings 7my father rose very early1  
and ,i had to get up to go with him  to 
the shop71 and eat more nourishing food2
 and he explained what it  should be4   
,amongst other things1 ,i remember he   

ordered me to drink  goat's milk1 milked
 and drunk on the spot1 as soon as ,i   
got out of bed1  before leaving my room4
 ,this treatment succeeded marvellously4
 ,every day  ,i gained strength1 colour1
 and flesh4 ,the little goat that came  
every  morning to my room to pay me a   
visit1 and brought me her milk1 sweet1  
warm1 and light1 will be always         
remembered by me2 and ,i still have a   
feeling for the little creature1 even   
after half a century1 which ,i  cannot  
well define4    ,sidenote3 ,,academy    
,,at ,,siena4    ,restored to health1 ,i
 was taken to see my mother in          
,florence4 ,my own  great joy1 as well  
as her caresses and petitions that ,i   
might be left  with her1 it is          
impossible to describe4 ,she insisted   
that she would find  me a shop where ,i 
could go and continue to learn the art  
of  wood-carving4 ,thank ,god1 this time
 my mother's tenderness overcame my     
father's tenacity 7loving though it     
was71 and ,i was allowed to remain  with

 her4 ,they both looked about to find me
 a shop1 and ,i was finally  placed in  
,borgo ,sant' ,jacopo1 with the         
wood-carvers ,gaetano ,ammanati and     
,luigi ,pieraccini1 who worked together4
 ,they were both very able men1         
certainly much more so than my father1  
who1 poor man1 owing to the  constant   
requirements of the family1 had never   
been able to perfect  himself in his    
art4 ,in this shop figures were carved1 
so that ,i had  before me models and    
teachers1 as well as incitement to work4
 ,my  principals liked me1 and ,i them2 
and ,i should have remained with them   
who knows how long1 had ,i not been     
carried off by another  intagliatore4   
,and the way in which it happened was   
this3 ,signor ,paolo  ,sani1 a carver in
 wood who sometimes came on business or 
for other  reasons to ,ammanati's1      
seeing that my work was fairly good1 and
 that ,i  worked with goodwill1         
determined1 if possible1 to take me away
 to work  for him4 ,he wrote1 therefore1

 to my father1 who had returned to      
,siena1  asking him to remove me from   
,ammanati's shop1 and send me to him1   
binding himself to pay me double the    
salary that ,i was then receiving4  ,as 
he did not wish1 however1 to appear to  
act underhandedly 7though this  was     
really the case71 he persuaded my father
 to take me to ,siena1 and  place me at 
the ,academy of ,fine ,arts1 to study   
drawing2 and he promised1  after ,i had 
passed some months there1 to take me to 
work in his own  shop4 ,my father       
accepted the offer1 and ,i was obliged  
to go to ,siena1  where ,i studied in   
the ,academy at the school of ,ornato1  
which was then  under the direction of  
,professor ,dei4 ,out of school hours my
 father let  me work upon anything ,i   
liked--such as children's heads1 angels1
 and  even crucifixes4 ,god knows what  
rubbish they were6 ,i also took lessons1
  in drawing the human figure1 of       
,signor ,carlo ,pini1 then the custode  
of  the ,academy1 and afterwards one of 

the most distinguished annotators of    
,vasari1 and keeper of the drawings by  
the old masters in the ,royal  ,gallery 
of the ,uffizi4    ,sidenote3 ,,angelo  
,,barbetti',s ,,prophecy4    ,at that   
time ,signor ,angelo ,barbetti1 a very  
skilful wood-carver1 was at  ,siena1 and
 my father wished to place me in his    
shop1 which was in the  ,piazza di ,san 
,giovanni4 ,but ,signor ,angelo was as  
irascible and  fault-finding as he was  
intelligent2 and one day1 when ,i had   
not  succeeded in executing some work   
that he had given me1 he struck me on   
the head1 accompanying the blow with    
these words1 which hurt me more  than   
the blow itself--,you will always be an 
ass1 harnessed and shod1  even when the 
beard is on your chin4 ,afterwards ,i   
was sent to ,signor  ,antonio ,manetti1 
who not only carved ornaments and       
figures in wood1 but  also worked in    
marble1 and was occupied in restoring   
the faade of the  cathedral4 ,signor    
,manetti was a man of no common         

genius--he designed and  sculptured     
ornaments and figures with much facility
 and cleverness4 ,but  even with him ,i 
was not fortunate4 ,he gave me a little 
,napoleonic eagle  with thunderbolts in 
his claws to execute4 ,for what it was  
intended ,i do  not remember1 but       
apparently ,i did not succeed in        
satisfying him4 ,in  this case1 however1
 there were neither blows on the head   
nor bitter  words1 but1 with a certain  
haughty dignity1 he took my poor little 
eaglet in his hand1 and dashed it to the
 ground1 breaking it to atoms in  spite 
of the thunderbolts4 ,viewed from this  
long distance of time1 this  scene has a
 somewhat comic character1 and must seem
 especially so to one  who hears it     
described4 ,but for me1 a poor little   
boy1 anxious to learn  and get on1 so as
 to lighten1 as far as possible1 the    
burden on my  father--who1 poor man1    
earned little1 and of that little was   
obliged to  send a portion to his family
 in ,florence--it was quite another     

thing2  and though ,i felt within myself
 that ,i was not a complete donkey1     
still  to see my work thrown thus       
brutally on the ground was so painful to
 me  that it took away all my little    
strength4 ,i wept in secret2 and as the 
time assigned by ,signor ,paolo ,sani   
and my father for my return had         
arrived1 ,i begged my father to send me 
back to ,florence4 ,he wished1  however1
 to keep me with him still longer1 and  
so ,i occupied myself in  making angels 
and seraphim heads for churches4        
,sidenote3 ,i ,,run ,,away ,,from       
,,siena4    ,sidenote3 ,,weariness ,,and
 ,,remorse4    ,i begged and begged my  
father to take me to ,florence1 to see  
my mother4  ,he promised to do so at    
,easter4 ,meanwhile1 ,i contented myself
 with this  hope2 but on the eve of     
,easter he told me he could not go1 on  
account of  his engagements1 which would
 detain him at ,siena1 and also for many
  other reasons that ,i could not and   
would not understand4 ,now1 however1  my

 patience gave way before my loving     
desire to see my mother2 and  without   
saying a word1 ,i rose early and ran    
away from the house4 ,passing  out of   
the ,porta ,camollia1 ,i set off on my  
walk with only a bit of bread  in my    
pocket1 in the boyish hope of reaching  
my destination the same  day1 and so    
passing my ,easter with my mother1      
without reflecting that1  by so doing1  
,i should pass it neither with my father
 nor my mother4 ,i  was about nine years
 old1 and walked on with courage beyond 
my strength4  ,so great was my desire to
 get to ,florence1 that ,i passed       
,staggia and  ,poggibonsi without       
feeling tired2 but near                 
,barberino--which is about  twenty miles
 from ,siena1 and half-way to           
,florence--my mind misgave me  that ,i  
should not be able to arrive in         
,florence that evening2  and then my    
strength abandoned me1 and ,i was so    
overcome with fatigue  that ,i could not
 get up from a little wall on which ,i  

had seated myself  to rest4 ,i had not a
 penny4 ,no carts or carriages were     
passing that way4  ,it was ,easter1 and 
every one was at home resting for his   
holiday2 and ,i1  there ,i was alone in 
the middle of the road1 oppressed with  
weariness  and remorse for having left  
my father in such anxiety4 ,at times ,i 
hoped  that he might come after me with 
a carriage to take me up1 and ,i quite  
resigned myself to a sound beating2 but 
even this hope was vain1 and ,i  had to 
continue my walk4 ,how many sad thoughts
 passed one after another  through my   
little tired head6 ,what will my mother1
 who is expecting us1  do or say8 ,what 
will my babbo think1 left alone1 and not
 knowing where  ,i am8 ,he will be      
certainly looking for me1 and asking    
after me from  every one in ,siena4     
,what will become of me in the middle of
 the road if  night overtakes me8 ,this 
thought gave strength and energy to my  
will1  and on ,i went4 ,i don't think   
that ,i was frightened4 ,at length my   

strength was exhausted2 the sun began to
 set2 ,i was seven or eight miles  from 
,san ,casciano1 and ,i could not be     
certain of arriving even there to  pass 
the night4 ,i stopped at a wretched     
little house to rest1 and asked  for a  
glass of water4 ,a man1 a woman1 and    
several children were eating4  ,they    
asked me where ,i came from1 and ,i told
 them4 ,with expressions of  compassion1
 especially from the woman1 they        
gathered round me1 gave me  some bread1 
a hard-boiled egg1 and a little wine1   
and ,i thanked them  with emotion4 ,they
 wanted me to stay with them until the  
next day--and  tired out as ,i was1 ,i  
should have stayed and accepted their   
kindly  offer2 but at this moment a     
vettura for ,florence passed by1 and    
with  my eyes full of tears ,i told them
 how infinitely grateful ,i should be   
if ,i could be allowed to fasten myself 
in any way on to the carriage4  ,the    
driver1 who had stopped to get a glass  
of wine1 seeing the state ,i  was in1   

and hearing my story from these good    
country people1 took me up  on the box  
by his side1 and carried me to          
,florence1 where we arrived in  less    
than three-quarters of an hour1 an hour 
after nightfall4 ,as my  mother and the 
other children lived in ,via            
,toscanelli1 when we were near  the     
,sdrucciolo de' ,pitti the good driver  
set me down there4 ,i descended  from   
the box and ran--no1 ,i could not run1  
for my feet were swollen1 and  my sides 
numb1 but my heart was glad1 exultant1  
and throbbing4 ,i  knocked2 my mother   
came to the window and saw me1 but she  
did not  recognise me until ,i spoke1   
and then she gave a scream and came     
down4  ,what followed ,i cannot recount4
 ,those who have a heart will imagine it
  better than ,i can tell it4 ,neither  
the good family who welcomed and        
refreshed me1 nor the honest humane     
carrier1 have ,i ever seen1 for ,i      
remained in ,florence1 and did not      
return to ,siena until many years       

after4 ,then ,i made all possible       
researches to find both the one and the 
other1 but ,i could never find them4    
,not1 indeed1 that ,i wished to         
remunerate them with money 7the price of
 charity has not yet been  named71 but  
,i wished to express to them my         
gratitude2 and this is the  only        
recompense acceptable to charitable     
hearts4    ,sidenote3 ,i ,,reach        
,,florence--,,my ,,mother4    ,sidenote3
 ,,paolo ,,sani',s ,,shop4    ,the day  
after1 as ,i hoped and feared1 the babbo
 arrived1 and as soon  as he saw me1 his
 expression1 anxious and grieved as it  
was1 became  threatening4 ,his few      
ill-repressed words were the sure sign  
of the blows  to come1 and he was just  
going to strike me when my mother1 with 
indescribable tenderness1 caught me in  
her arms and pressed me to her1  with   
her face and eyes turned towards my     
father1 without uttering a  word4       
,softened by this1 he then began a long 
speech on the obedience and  submission 

due from children to the holy parental  
authority1 not  omitting to censure my  
mother's indulgence and petting4 ,after 
this ,i  begged his pardon1 and all was 
at an end4 ,my father returned to       
,siena1  and ,i went to ,signor ,sani's 
shop 7built with his own money71 in the 
,piazza di ,san ,biagio1 under the      
,piatti printing-office4 ,signor ,paolo 
,sani was a man of about fifty1 thin1   
pale1 and exceedingly active4 ,he  had a
 great deal of work to do1 and was      
employed by the ,court and first  houses
 in ,florence4 ,his taste was not       
exquisite1 but he understood  effects   
and proportions1 so that his decorative 
carving1 either in the  way of          
furniture1 caskets1 frames1 chandeliers1
 or ornamental work for  churches1 was  
greatly in demand4 ,he had many men1 and
 the works  succeeded each other with   
great rapidity4 ,in his house he had    
portfolios  full of designs1 and the    
walls of his shop were covered with     
plaster  casts1 bas-reliefs of figures1 

and ornaments1 animals1 arabesques1     
flowers1 angels1 c41 making a strange   
fantastic medley full of  attraction for
 me4 ,when the master was not there1 the
 men at their work  used to talk and    
sing2 but when any one saw him coming1  
the scene  changed1 and there was       
perfect silence4 ,i came into the shop  
as an  apprentice and errand-boy2 so    
that although ,i had my little bench1   
with  my tools and work1 yet1 if there  
was any glue to be heated or made1 or   
the tools were to be taken to the       
grinder1 or the breakfast to be  brought
 for the men1 this duty always fell upon
 me4 ,but ,i did not in the  least      
complain4 ,it is true that amongst these
 duties there was one for  which ,i had 
a dislike1 although ,i did not show it1 
and this was carrying  a basket full of 
shavings on my back to the master's     
house in the ,borgo  ,sant' ,jacopo4 ,to
 go there ,i had to pass through the    
,mercato ,nuovo and  over ,ponte        
,vecchio1 which is much frequented at   

all hours1 as every one  knows2 and     
during this year ,i went there with the 
basket of shavings on  my back4         
,notwithstanding this1 ,i was well off  
in the shop1 and was  light-hearted from
 being near my mother and sisters4 ,one 
of my  sisters--my elder by a year--died
 soon after my return from my           
wanderings with my father4 ,poor        
,clementina6 she was so good1 delicate  
in  health1 and suffering4 ,indeed1 we  
all suffered because of our poverty4    
,father sent us little1 for he earned   
little1 and our bread was often wet     
with tears because we could not help our
 mother as we wished4 ,added to  this1  
she could do almost nothing herself on  
account of her infirmity of  eyesight1  
which little by little so increased1    
that at last she was no  longer able to 
see us2 and as ,i have already said1    
,clementina died4 ,god  willed it so--to
 shorten her road1 which was too full of
 thorns and  danger1 to one pretty as   
she was1 artless1 away from the father's

  watchful eye1 and with her mother     
blind4 ,my other smaller sister         
,maddalena accompanied her mother when  
she went out1 as she did in the         
endeavour to earn something by buying   
and selling women's old clothes4  ,my   
brother ,lorenzo 7perhaps because he was
 too quick-tempered7 was  obliged to go 
to the poorhouse1 and here he learnt the
 art of  carpet-maker4 ,after a short   
time1 however1 he came out and returned 
to  ,parenti1 who had a carpet          
manufactory in the ancient refectory of 
the  monks of ,santa ,croce1 where he   
remained for some time4    ,sidenote3   
,,death ,,of ,,my ,,sister4    ,but all 
these difficulties and sorrows one feels
 less in early years1  and in spite of  
them ,i was light-hearted4 ,i had the   
master's goodwill1  and the men in the  
shop treated me with the open cordial   
heartiness  belonging to that class in  
those days4 ,my love for the study of   
design  increased1 and in the off-hours 
of work ,i used to stay behind in the   

shop and eat a bit of bread there1 and  
draw from some of the casts  hanging on 
the walls1 without taking them down or  
even dusting them4 ,i  began with little
 things such as leaves1 branches1 small 
figures1  capitals of columns1 heads of 
animals1 and so on and so on1 until ,i  
got  to figures4 ,in the shop there were
 two beautiful bas-reliefs from the     
pulpit in ,santa ,croce1 two from the   
doors of the sacristy of the ,duomo  by 
,luca della ,robbia1 and several of     
those little figures by ,ghiberti  which
 surround the principal door of ,san    
,giovanni4 ,all these casts ,i  drew    
during this period--badly1 as one may   
imagine1 and without guide or  method2  
but still1 this served to occupy me     
pleasantly1 and also to keep  alive     
within me the craving to learn and      
advance myself1 so as to be  able to do 
other and more important work in the    
shop1 and thus gain  distinction4       
,sidenote3 ,,backwardness ,,at ,,school4
    ,sidenote3 ,,my ,,first ,,library4  

,sidenote3 ,,books ,,at ,,church4       
,this desire of distinguishing myself   
has always been very strong in me2  and 
through all my privations1 discomforts1 
loss of sleep1 harsh  corrections1      
irony1 and scorn1 ,i was borne up by    
this desire to do  myself credit1 and   
see my father and mother rejoice in me  
and for me2  and also1 ,i must confess1 
by the hope of seeing the rage of those 
who  had treated me with irony and      
scorn4 ,but if ,i learned1 more and more
  every day1 how to design and to carve 
in wood--for this was very  attractive  
to me--in everything else ,i was        
perfectly ignorant4 ,i had not  even    
learned to read well1 and could not     
write at all4 ,my father had  tried     
placing me at a public school1 but ,i   
learned absolutely nothing  there4 ,the 
rudiments of writing and arithmetic were
 so irksome to me  that the master in   
despair sent me home again1 and would   
have nothing to  do with such a little  
dunce4 ,for all this1 ,i had my little  

library at  home1 which ,i kept with    
great care locked up in a small box in  
my room1  and it was composed of seven  
or eight books4 ,these ,i had bought in 
the  streets from book-stalls set       
against old walls1 and they were as     
follows3 ,a volume of the ',capitoli of 
,berni1' ',paul and ,virginia1' and     
',atala and ,chatta' 7translations of   
course71 a volume of the comedies of    
,alberto ,nota1 and the ',jerusalem     
,liberated1' ',guerrino ,meschino agli  
,alberi del ,sole1' ',oreste1' and the  
',pazzi ,conspiracy4' ,at first ,i      
understood almost nothing excepting some
 of the adventures of ,guerrino4        
,afterwards ',atala and ,chatta' and    
',paul and ,virginia' became my         
favourite reading2 and so much did ,i   
like them1 and so often did ,i read     
them1 that whole pages remained in my   
memory4 ,then ,i fell in love with  the 
',jerusalem1' and this my memory more   
easily retained4 ,some of the  verses ,i
 tried to write from memory1 in a little

 running hand1 copying  the letters from
 my father's writing1 for1 as ,i have   
said before1 ,i  never learnt the       
rudiments of writing2 and those         
pot-hooks1 and big  letters between two 
lines1 never were to my taste4 ,as to   
other things1 ,i  had the innocence and 
good faith belonging to my age and the  
imperfect  education ,i had received4 ,i
 thought all books good--good because   
they  were printed--and not only good at
 home1 but good everywhere else2 and  so
 ,i used to take my books to read in    
church during the ,mass4 ,one day  7it  
was ,sunday7 at mid-day ,mass in ,sant' 
,jacopo1 while ,i was reading the       
',conspiracy of the ,pazzi1' my master1 
,signor ,sani1 who lived opposite  the  
church1 and was also at ,mass1 observed 
me1 and suspecting that the  book ,i was
 reading was not a proper one to take to
 church1 stopped me as  he was going out
 and asked to see it1 and finding what  
it was1 told me  that ,i was not to     
bring it again to church1 as it was not 

a book of  prayers4 ,more also he added 
that ,i did not understand1 especially  
when  he wanted to explain to me the    
verses--                                
,il putrido      ,annoso tronco1 a cui  
s'appoggia fraude4#b     #b ,the rotten 
knotted trunk on which fraud leans4     
,i obeyed1 however1 and never took this 
or any of my other books to  church2 and
 so ,i learnt that books you can read at
 home you cannot read  in church4 ,later
 ,i learnt there are others not to be   
read anywhere4          ,,chapter ,,ii4 
,,without ,,knowing ,,it1 ,i ,,was      
,,doing ,,what ,,leonardo               
,,advises--,,new ,,way       ,,of       
,,decorating ,,the ,,walls ,,of ,,one',s
 ,,house--,i ,,wish ,,to ,,study        
,,design       ,,at ,,the ,,academy1    
,,but ,,cannot ,,carry ,,this ,,into    
,,effect--,a ,,bottle ,,of              
,,anise-,,seed ,,cordial--,,intelligent 
,,people ,,are ,,benevolent1 ,,not ,,so 
,,those ,,of ,,mediocre ,,minds--,,the  
,,statues ,,in ,,the ,,piazza ,,della   

,,signoria ,,and ,,alabaster            
,,figures--,,the ,,discovery ,,of ,a    
,,hidden       ,,well--,,my ,,father    
,,returns ,,home ,,without ,,work1 ,,and
 ,,leaves ,,for       ,,rome--,,young   
,,signor ,,emilio ,,del                 
,,tabris--,,sea-,,baths ,,and ,,cholera 
,,at       ,,leghorn--,,with ,,help ,i  
,,save ,a ,,woman ,,from ,,drowning--,i 
,,go ,,to ,,san       ,,piero ,,di      
,,bagno--,,my ,,uncle ,,the ,,provost   
,,dies--,,my ,,father ,,returns         
,,from ,,rome1 ,,and ,,settles ,,in     
,,florence--,,my ,,work1 ,a ,,group ,,of
 ,a ,,holy       ,,family1 ,,is         
,,stolen--,,description ,,of ,,this     
,,group4      ,how dear to me is the    
remembrance of those times6 ,my goodwill
 and desire  to learn were indeed above 
my very poor condition4 ,the            
difficulties of  my profession did not  
discourage me2 on the contrary1 ,i felt 
a  pleasurable though distant hope of   
surpassing my companions in  figure-work
 that they did so badly and laboriously4

 ,for this purpose1  from that time ,i  
gave all my efforts to the study of the 
human figure4 ,i  bought an album and   
kept it always with me1 begged my       
friends to stand  as models1 and drew   
their portraits4 ,at first my attempts  
were not  happy2 but ,i was never tired1
 and after a time ,i acquired so much   
freedom that with a few strokes ,i could
 make a fair likeness4 ,i was  always at
 work1 and the walls of our kitchen and 
dining-room were all  smudged over with 
charcoal4 ,naturally1 there was no one  
to scold me for  this unusual way of    
adorning the walls1 for the mother1 poor
 dear1 was  blind1 my father was not    
there1 and as ,i was the eldest1 ,i was1
 as it  were1 the head of the family4   
,besides1 though my mother could not    
see1  she still knew of this strange    
practice of mine1 and thought it better 
for me thus to occupy myself than to be 
playing with the boys in the  street4   
,sidenote3 ,,longing ,,to ,,be ,,an     
,,artist4    ,in the meantime1 however1 

many doubts and self-questionings arose 
within  me4 ,i knew that there was a    
school where one could really learn to  
draw  and paint and make statues4       
,heavens1 how delightful it would be to 
know  how to make statues6 ,in fact1 ,i 
understood there was the ,academy of    
,fine  ,arts1 for so ,i had been told1  
and some of the fortunate young men who 
frequented this ,academy were my        
acquaintances1 and had shown me their   
designs1 which seemed to me1 as my      
friend ,dotti would say1 most           
stupendous6 ,i was no longer happy4 ,the
 ,academy appeared to me in the  most   
splendid and glowing colours2 it seemed 
to me the haven1 the  landmark1 the     
temple of glory1 the throne of my golden
 dreams4    ,i spoke of it to my mother 
with tears in my eyes4 ,she mingled her 
tears  with mine1 but not1 perhaps1 so  
much from being persuaded of the        
necessity of such studies as from a     
desire to soothe me4 ,she spoke about   
it to ,signor ,sani1 who1 ,i shall      

always remember1 with his eyes fixed    
fiercely on me1 made even more          
formidable under his silver spectacles1 
replied1 that to do all that was to be  
done in his shop1 it was enough  to     
remain in the shop and have the wish to 
learn--of this he was  certain2 but as  
to the work in the ,academy1 he did not 
feel so sure1  for1 on the contrary1    
that would fill me with desires and     
cravings that  ,i could not satisfy1    
owing to the poverty of my family1 even 
admitting  that ,i had the disposition  
to enable me to master these studies2   
and  finally1 he hinted at the danger   
there was of my being contaminated by   
my companions4 ,my mother did not answer
 him4 ,she said good-bye to me1  and in 
her sightless eyes ,i saw the sadness   
within4 ,she went out1 and ,i  set      
myself to work4    ,sidenote3 ,a ,,flask
 ,,of ,,anise-,,seed4    ,i resigned    
myself1 but continued always to study by
 myself4 ,as ,luigi1  the master's      
eldest son1 was studying design at      

,professor ,gaspero  ,martellini's      
school1 which was in the ,fondacci di   
,santo ,spirito1 he gave  me some of his
 designs to copy4 ,not only did         
,professor ,martellini give  him lessons
 in drawing1 but also in modelling in   
clay1 and ,sani was one  of the most    
assiduous of his scholars4 ,i remember  
to have pounded his  clay for him many  
times1 in a room on the ground-floor in 
his house in  ,borgo ,sant' ,jacopo4    
,this little room was used as a         
storehouse for all  sorts of odds and   
ends1 and amongst these ,i once found a 
flask of  anise-seed cordial1 that 7to  
confess the truth7 ,i tasted sometimes4 
,one  morning1 having finished what ,i  
had to do1 and having gone up-stairs to 
take the key of the room1 one of the    
master's daughters 7he had four7  smelt 
in my breath the odour of anise-seed1   
and said to me--    ,who has given you  
anise-seed8    ,no one1 ,i answered4    
,you smell of anise-seed2 who has given 
it to you8 ,mind1 don't tell  lies4     

,then ,i told everything4    ,i don't   
believe you4 ,you are a liar4    ,no2   
come and see4    ,certainly ,i wish to  
see4    ,she then came down1 and taking 
the flask in her hand1 looked at it1    
smelled it1 and tasted it4 ,apparently  
she must have drunk a little1 for  as   
soon as she had put down the flask and  
shut up the room1 she began to  totter1 
and could not stand on her feet4 ,with  
difficulty ,i succeeded in  getting her 
up-stairs1 where1 as soon as her mother 
saw her in that  state1 there ensued a  
serious scene4 ,they all talked and     
scolded at  once--the three girls who   
had not drank the anise-seed1 as well as
 the  mamma2 and when ,i tried to       
explain how the thing had happened1 ,i  
felt  two slaps in the face1 which were 
given with such force that ,i was       
stunned4 ,my ideas became so confused   
that ,i was not able to say  anything4  
,fortunately the girl spoke1 and said-- 
,nanni is not at fault4    ,at these    
words the mistress said--    ,go at once

 to the shop4 ,master shall know        
everything this evening4    ,i did not  
breathe a word1 and even she said       
nothing about it to the  master1 nor was
 ,i scolded by him1 or by the ,signora  
,carolina 7the  mistress74 ,some days   
after ,i returned to knead the clay1 but
 the flask  of cordial had disappeared4 
,about this time there was a residenza#c
 to be made in the shop for  some       
church1 where1 in the midst of the      
clouds that supported the  ostensorio1  
were a quantity of seraphim4 ,this work 
was required to be  done at once without
 delay2 and as ,bartolommeo ,bianciardi1
 who did this  kind of work in the shop1
 could not alone do all that was        
required of  him1 ,i proposed to the    
master to make one of the seraphim      
myself1 and ,i  succeeded so well that  
he was entirely satisfied4 ,after that  
,i made  others1 and always better and  
better4 ,from that time1 when similar   
work  came to the shop1 ,i was always   
employed on it together with the other  

workman1 and sometimes in preference to 
him4 ,in the meantime ,i continued  to  
make progress in the art of             
wood-carving1 and the best and most     
skilful workmen flattered me and helped 
me with their advice1 but the  others   
looked upon me with an evil eye4 ,i     
could not understand this  difference1  
nor can ,i understand it now2 but as ,i 
have since met with  this1 and felt it  
always at every time and everywhere1 it 
must be in the  natural order of bad    
things4     #c ,the throne on which the 
monstrance is placed when    exposition 
of the sacrament takes place4           
,sidenote3 ,,artistic ,,longings4       
,but there was always a thorn in my     
heart4 ,the seraphim were not enough  to
 satisfy me1 nor even the large masks   
and heads of ,medusa with all  their    
serpents4 ,and when ,i passed through   
the ,piazza della ,signoria and  saw the
 ,david1 the ,perseus1 and the ,group of
 the ,sabines1 ,i thought that  by going
 to the ,academy of ,fine ,arts one     

might learn how to make such  works6    
,heavens1 how grand a thing it would be 
to be able to go to the ,academy6  ,but 
it was useless even to think of this1   
for my father had declared  himself     
opposed to it4 ,therefore peace be to   
it1 and let me have  patience4 ,at least
 those pretty little alabaster figures  
that are shown  in the shop windows of  
,pisani on the ,prato1 and ,bazzanti on 
the  ,lung',arno1 those ,i should be    
able to do with time and study and a    
firm  will4 ,for after all1 it is only a
 question of changing the material1 of  
substituting alabaster for wood1 a      
seraphim or an angel for a little       
,venus or ,apollo--there is nothing to  
create4 ,those who make these  figures1 
also copy them from others in alabaster1
 plaster1 or bronze1 as  ,i do2 and even
 now ,i invent my little seraphim1 and  
no longer look at  ,flammingo's little  
boys as ,i did at first--,i do them from
 memory1 making  them either leaner or  
fatter1 or more smiling or more sad1 as 

best ,i  feel inclined4 ,so ,i reasoned 
and persuaded myself that in the end1   
one  day or other1 ,i also should be    
able to make one of those graceful      
little  statuettes4    ,sidenote3 ,a    
,,practical ,,joke4    ,in this way ,i  
consoled myself1 and went on with       
courage and hopefulness4  ,here some one
 may say1 this artist in his old age    
gives us a picture of  himself as a boy 
where there is too much fancy4 ,the     
portrait is  beautiful1 but is it a     
likeness8 ,has not the love of beauty   
seduced him8  ,what is the truth8 ,who  
ever saw a boy who was always obedient1 
studious1  patient1 constant1 c4 c48    
,slowly1 my good sirs--slowly2 have a   
little patience4 ,some scrapes even  ,i 
have got into1 and for the love of truth
 ,i must not pass them by in  silence4  
,but everything has its place1 and here1
 for instance1 is the  place for one of 
these scrapes4 ,in the shop where ,i was
 employed1 close  to my bench there was 
a great plaster pillar rising from the  

floor to  the ceiling4 ,neither ,i nor  
any one had ever thought or inquired for
 what  purpose it had been made4 ,in    
this pillar was a sort of little niche1 
into which was walled up a phial of oil 
kept for sharpening our tools4  ,now it 
happened that this phial got broken1 and
 in consequence it became  necessary to 
knock down the rest of the little niche 
in order to put in  a new one2 but in   
performing this operation1 ,i perceived 
that the wall  was thin under the       
hammer1 as if it were hollow1 so ,i     
began to think  what this could mean4   
,the others also wondered1 and some said
 one thing1  and some said another4 ,in 
the meantime1 as ,i continued to hammer 
on the  wall in the interior of the     
niche1 a brick fell down1 the wall gave 
way1  and we looked into a hollow space4
 ,taking a stick to measure the depth1  
we found it was considerable2 but we    
could not understand what the  meaning  
of this could be4 ,i have already said1 
in the beginning of these  memoirs1 that

 our shop was under the ,piatti         
printing-office--and so it  is1 for the 
printing-office is on the first floor   
over it2 but the  building is very high1
 and above that floor are others        
occupied by  lodgers4 ,suddenly1 as we  
stood still1 perplexed and wondering    
what could  be the use of this hollow   
pillar1 ,i1 being nearest the spot1     
heard a  noise within like a rustling or
 rubbing of something which we could not
  explain4    ,sidenote3 ,,the ,,souls  
,,of ,,purgatory4    ,for a while ,i    
stood still1 thinking1 when suddenly ,i 
guessed what it  was1 and said to my    
companions--    ,in a moment1 if ,i     
succeed1 you will witness a scene that  
will make you  laugh4    ,what do you   
mean to do8    ,you will see4 ,taking a 
long piece of beaten iron wire1 ,i bent 
it into  the form of a mark of          
interrogation1 and fastening the        
straight end of  it firmly to a bit of  
wood1 when ,i heard the noise again ,i  
thrust it to  the opposite side of the  

hole1 and again and again tried if ,i   
could  catch hold of anything within4   
,at last1 when ,i thought ,i had        
grappled  hold of something1 ,i pulled  
it up1 and found it to be a rope4 ,as   
soon as  the rope was caught1 we heard  
several voices scolding1 calling1 and   
disputing--amongst others1 a woman's    
voice shouting1 ,no1 ,i tell you  there 
are no other lodgers2 pull away1 the    
bucket must have got into  some hole4   
,then the poor woman pulled1 and every  
time she pulled ,i gave  a loud groan4  
,at last1 apparently the woman's        
strength failed1 the  mistress herself  
or some one else pulled at it1 for ,i   
could feel she had  no more strength to 
pull1 and then cried out with an        
impertinent voice1  worthy of greater   
success1 ,who is there8 ,the souls of   
purgatory1 ,i  shouted out lugubriously1
 and instantly felt the rope fall down4 
,to say the truth1 ,i was then a little 
alarmed through fear of being           
discovered1 so ,i pushed forward the    

iron hook1 and the rope fell1  bucket   
and all1 into the well4 ,my companions  
laughed at the scene1 but ,i  did not2  
and thinking the joke might be found    
out1 ,i hastened to close  up again the 
hole with a brick1 set the little bottle
 of oil into it1  restore the niche as  
it was1 smudge it over well that it     
might appear  old and as if it had never
 been touched1 sweep away all traces of 
the  plaster that had been used1        
straighten out the instrument ,i had    
used1  and apply myself to my work in   
serious rather than hilarious mood4     
,sidenote3 ,,my ,,father ,,goes ,,to    
,,rome4    ,about this time my father1  
failing to get work1 came to ,florence1 
hoping  to find something to do2 but his
 hopes proved vain4 ,he stayed there a  
little while1 but at last determined to 
go away1 and this time for a  more      
distant place4 ,my mother and all of us 
tried to dissuade him1  telling him to  
have patience1 that some way would be   
found1 that we  would do all we could to

 help1 and although we were very poor1  
still we  should all be together4 ,but  
it seemed to him that we could not get  
on in  this way1 and accordingly he left
 for ,rome4 ,so long as he was at ,siena
  and wrote to us1 and sometimes sent us
 a few sous1 it was not so bad1  and we 
were accustomed to it2 but now1 who     
could say how we should get  on8 ,so far
 away1 without any one to help him1     
without acquaintances1 and  with so     
imperious a character1 what would become
 of him8 ,fortunately1  however1 he     
found employment1 and he wrote that he  
was well1 and hoped  in a short time to 
be able to send us something4 ,god knows
 there was  need of it4    ,meanwhile ,i
 had become tolerably skilful4 ,i was no
 longer a boy2 ,i  earned about three   
pauls a-day1 and nearly all this ,i gave
 to my  mother1 reserving for myself    
only a few sous to buy paper1 pencils1  
and books4 ,beyond these things ,i      
wanted nothing1 for my mother took care 
to keep me cleanly and decently dressed4

    ,sidenote3 ,,discontent4    ,as my  
face1 my way of speaking1 and my manners
 were not vulgar1 many of  the customers
 who came to our shop took me for the   
son of the principal  instead of an     
apprentice4 ,they readily addressed     
themselves to me2 ,i  took their        
messages1 and sometimes their orders for
 the work1 and the  older and more      
skilful workmen showed no ill-feeling   
about it4 ,amongst  other customers who 
had a liking for me1 ,i remember ,signor
 ,emilio de  ,fabris1 who at that time  
was the head workman in ,baccani's      
studio4 ,he  used to come to direct and 
urge on the work4 ,he used to talk with 
me1  and to make his observations on the
 work2 and as he even then had an  easy 
and graceful way of talking1 ,i listened
 to him with attention4 ,he  was a thin1
 tall1 refined young man1 admirably     
educated1 and courteous  in his manners4
 ,to-day he is one of the most famous   
masters of  architecture1 ,president of 
our ,academy of ,fine ,arts1 and my good

 friend4    ,but although ,i had many   
reasons for being contented1--for at    
home1  thanks to the small wages of my  
brother ,lorenzo1 the few sous that     
came from ,rome1 and the earnings1      
meagre though they were1 of my mother1  
we were able1 by putting all together1  
to live tolerably though poorly1  and in
 the shop ,i was liked and esteemed by  
my master1 by the men1 by  all1--still  
,i was not contented4 ,i felt there was 
a void1 a feeling of  uneasiness1 and a 
melancholy that ,i could neither explain
 to myself1 nor  could others explain to
 me except by jestingly calling me the  
poet4    ,and this was the truth1 for   
the poet is eminently a dreamer whose   
dreams  are more joyous and smiling than
 any reality1 and ,i dreamed--yes1 but  
not of a smiling future when ,i should  
be rich and famous1 but of any  sort of 
way by which ,i could find vent for that
 inward longing to  distinguish myself  
above others1 and to distinguish myself 
especially  in figure-work1 though it   

should be only in wood2 but it was not  
possible for me to satisfy this longing 
in the shop4 ,here ,i was obliged  to   
work at all sorts of                    
things--chandeliers1 frames1 mask-heads1
  everything2 and ,i not only felt      
unhappy1 but was unhappy1 and my health 
began to fail4 ,i was advised to take   
sea-baths2 but in ,leghorn the  cholera 
was raging1 and it would have been      
imprudent to go there1 and so  another  
year passed in the midst of desires and 
hopes and fears and  ill-health4 ,but at
 last ,i went to the baths4 ,i had      
scarcely arrived  there1 however1 when  
that terrible disease reappeared and    
raged  furiously3 the inhabitants and   
strangers hastened to fly from it2 all  
business was suspended2 movement and    
gaiety almost entirely disappeared2  the
 shops were shut2 and in a short time   
,leghorn became deserted1 sad1  and     
oppressed with fear4    ,sidenote3      
,,cholera ,,at ,,leghorn4    ,my mother 
wrote to me from ,florence urging my    

immediate return2 but ,i--,i  know not  
why--felt myself1 as it were1 riveted to
 ,leghorn4 ,it may have  been perhaps on
 account of the effect of the sea air1  
the novelty of the  life1 and the       
excitement produced in me by the danger 
to which my life  was exposed1 which ,i 
not only did not fear1 but even felt    
strong enough  almost to challenge1 and 
more than all1 the notable improvement  
that ,i  daily felt in my health1 which 
decided me to remain4 ,i had found some 
friends even gayer and more thoughtless 
than myself4 ,we went to the            
fish-market and bought the best fish for
 almost nothing--fresh red  mullet for  
two or three soldi a pound--for there   
were no purchasers4  ,it was generally  
believed that the disease came from the 
sea1 and was  brought on by eating fish2
 but we ate and drank and smoked        
merrily4    ,in a few days ,i recovered 
my health1 got a good colour1 gained    
strength1  and melancholy went to the   
devil4 ,i also found some work to do4   

,the few  soldi that ,i had brought with
 me rapidly disappeared4 ,i worked but  
little1 only doing so much day by day as
 would enable me to live  merrily4 ,by  
one o'clock my day of work was over1 and
 then began that of  amusement--which   
consisted of dinner1 walks in the       
country sometimes as  far as ,montenero1
 towards evening a good swim in the sea1
 then to the  caf1 and late to bed4     
,leading as ,i did this happy life1 one 
can  readily imagine that my letters    
home breathed trust1 courage1 and       
tranquillity of spirit1 so that my      
mother1 although she never ceased to    
beg me to return1 did so in less        
pressing terms and with gentler         
expressions4    ,sidenote3              
,,amusements--,,cacciucco4    ,sidenote3
 ,i ,,save ,a ,,drowning ,,woman4       
,one day when ,i had gone with my       
friends on board one of those small     
vessels which are stationed at the      
,anelli1 and while we were eating a     
dish of fresh fish called cacciucco1    

which the sailors excel in  making1 a   
woman who was walking by the shore fell 
or threw herself into  the sea4 ,for a  
short time she floated1 sustained by her
 clothes1 which  puffed up into a sort  
of bell2 then she began to waver to and 
fro1 and  down she went4 ,we looked at  
each other1 and then about us to see if 
any  of the sailors on the neighbouring 
ships had seen the woman and were       
moving to the rescue1 and those on board
 our boat only shrugged their  shoulders
 as if she were a dog4    ,down with    
you6 throw yourself in6 you know how to 
swim6    ,i1 of course2 but don't you   
swim better than ,i8    ,i6 no2 but     
yes----    ,and at this one of us1 a    
fellow nicknamed ,braccio di ,ferro--,i 
don't  remember his real name--taking   
off jacket and boots1 shouted out1 ,hold
  your tongues1 cowards6 and plunged in 
head first with his hands above  his    
head4 ,at the word cowards1 made even   
more telling by the brave act  of the   
man1 ,i felt my face suffused with      

shame2 and although ,i was not  such an 
expert swimmer as ,braccio di ,ferro1 ,i
 also took off my jacket  and shoes1 and
 gathering my loins tightly together1   
with my hands under  my feet1 jumped in4
 ,under water one could see quite as    
clearly as above1  for the rays of the  
sun penetrated obliquely and lighted up 
all the  space about me4 ,i saw my      
friend diving down to touch bottom1     
which meant  that he had seen that poor 
woman1 but ,i had to come up to the     
surface to  take breath4 ,as soon as ,i 
had done so once or twice1 ,i made a    
somersault1 and away ,i went1 striking  
out with my hands in the water4 ,my     
friend1 however1 had found the woman1   
and had seized hold of her by her  foot4
 ,swimming around1 ,i caught hold of her
 skirts1--and just in time2  for poor   
,braccio di ,ferro was blown1 and who   
knows how much water he  would have     
drunk if ,i had not come4 ,leaving the  
woman to me1 he made a  curve in the    
water1 and went to the surface to       

breathe1 plunging his  head under again 
to look after us4 ,the two boats that   
had come to get  the poor woman were    
ready4 ,braccio di ,ferro mounted into  
one to help me  pull her in4 ,with one  
hand ,i caught hold of the boat1 and    
with the other  ,i clung on to the      
woman's dress1 who was at once dragged  
out1 placed on  her face that she might 
throw up the water she had swallowed1   
taken to  land1 and escorted to her     
house1 which was not far off4 ,we       
mounted upon  our vessel amidst the     
applause of the people and of our       
friends who were  waiting for us2 they  
took off some of their clothes to cover 
us as best  they could1 and we hung ours
 out to dry on one of the cords of the  
ship4  ,we drank some pipiona wine1     
finished our repast1 and each of us     
returned home4    ,i remained about a   
month longer in ,leghorn2 and if it had 
not been for  my mother1 who pressed me 
to return1 ,i should have stayed who    
knows how  long4 ,i found also something

 to do which was to my taste2 ,i made   
three  heads of ,medusa to ornament the 
panels of a chemist's bench4 ,it was a  
new chemist's shop that was to be opened
 in those days4 ,who knows what  they   
have done with those poor heads of mine6
    ,sidenote3 ,a ,,drop ,,too ,,much4  
,i have just said that when we returned 
to the ship after having got hold  of   
the woman who was drowning1 we drank    
some pipiona wine2 and now ,i  must stop
 and put others who may intend to drink 
of this pipiona on  their guard4 ,it is 
wretched wine1 or perhaps we drank a    
drop too much1  for we1 who might have  
had the medal awarded to courage1 went  
home  almost drunk4 ,and whereas an hour
 before we had been honoured and        
applauded1 on our return we ran the risk
 of being scorned4 ,so it is2 a  drop of
 wine too much may serve one such a turn
 that ,i1 as a good  ,christian1 warn my
 equals1 and especially inexperienced   
young men who  find themselves in the   
company of merry companions1 against it4

    ,i returned to ,florence1 and never 
heard anything more of my ,livornese    
friends4 ,part of them were in          
,magagnini's shop1 who was then a       
cabinet-maker1 and is now a             
much-esteemed architect4 ,others--and   
amongst  these ,braccio di ,ferro--were 
with ,ricciardelli1 cabinet-maker in    
,via  dell',angiolo4 ,i returned home1  
therefore1 and found the mother always  
dear and loving1 who clasped me in her  
arms4 ,the day following1 ,i went  back 
to the shop so brisk and well that the  
principal and all the men  were         
rejoiced4    ,sidenote3 ,,atanasio      
,,dupr',s ,,death4    ,about this time  
my uncle1 on my father's side1 ,atanasio
 ,dupr1 provost  at ,san ,piero di      
,bagno1 died4 ,they wrote to us from    
there to bring my  father to take       
possession of the inheritance of his    
brother2 and as he  was in ,rome1 by my 
mother's advice ,i left at once for     
,bagno4 ,according  to my habit1 and    
also to save a few soldi1 ,i left       

towards evening on  foot1 and walked all
 night4 ,it was winter1 beautiful       
weather1 cold1 and  with clear          
moonlight4 ,in the middle of the night  
,i met no one1 and only  towards        
daybreak some few carts passed me near  
,borgo alla ,collina and  ,bibbiena1    
where ,i stopped at the inn1 as ,i could
 not go on any farther1  having come    
thirty-six miles without halting4 ,i    
rested there some hours2  but in order  
to pursue my journey1 ,i hired a mount  
and guide1 because it  was necessary to 
go along the dry river-bed of the       
,corsalone for some  miles1 and cross it
 several times4 ,through this plain1    
which was flooded  over at times1 the   
river ordinarily kept to a narrow       
tortuous channel1  which1 seen from the 
heights of ,bibbiena1 produced a        
wonderful effect4  ,it looked like an   
enormous serpent with golden scales when
 lighted up by  the rays of the sun4    
,having gone over this strange and      
fatiguing road1  leaving to the right   

,la ,vernia1 abode and sanctuary of the 
poor one of  ,assisi1 ,i mounted the    
,apennines1 and descended again1        
arriving towards  evening at ,san ,piero
 di ,bagno4 ,i went at once to my poor  
uncle's  residence1 where ,i found a    
woman and some priests1 who showed me   
our  inheritance4 ,it was little enough1
 to speak truly--some modest  furniture1
 a little linen1 and a little money4    
,what was really of value  was the      
library2 but this he had left to the    
,eremo of ,camaldoli1 from  whence it   
originally came1 as1 at the time of the 
suppression of  convents1 he had taken  
it to save it from the thieving hands of
 the  governors and partisans of        
,napoleon ,i4    ,in order to understand
 how my uncle was able to save a great  
part of the  books and precious         
manuscripts belonging to the library at 
,camaldoli1 it  is enough to know that  
he was one of the fathers of that       
hermitage1 and  when at the suppression 
they were all expelled1 my uncle became 

a  priest1 and was made provost of ,san 
,piero di ,bagno1 where he remained     
until his death4    ,sidenote3 ,a       
,,group ,,of ,,the ,,holy ,,family4     
,my father hastened at once to          
,florence1 where ,i found him at home1  
after  ,i had stopped a few days at ,san
 ,piero4 ,he went there and took        
possession  of those few things1 and    
afterwards returned to ,florence1 and   
from that  time forward never left it4  
,he opened a little shop himself1 and ,i
 used  to help him in spare moments with
 certain kinds of work that he was      
unable to do1--such as little figures1  
animals1 and other things4 ,it is  a    
great comfort to me to remember those   
days4 ,i had the will and the  ability  
to help my father to do work that was   
appreciated and liked as  if it were    
really his1 and so increase his         
reputation and obtain his  affection4   
,it happened once1 however1 that a most 
miserable man took  advantage of my     
father's good faith about a piece of    

work that had cost  me not a little time
 and study4 ,this was what occurred3--  
,one day a man presented himself to my  
father1 and said that he had a          
commission to have a group made in wood 
of not very large dimensions1  that     
should represent the ,sacred            
,family--the ,virgin ,mary1 ,st ,joseph1
 the  ,infant ,jesus1 and ,st ,john--and
 that it had come into his head to come 
to  him1 whom he knew to be so clever at
 figure-work4 ,my father tried in  some 
way to excuse himself1 feeling that the 
work would be a long one1  and not      
wishing to take too much advantage of my
 hours of rest and  study4 ,but there   
was no way of avoiding it1 and he had to
 yield and take  the order for this     
work1 without even speaking of the      
price1 for 7so  said this man7 the      
person who gives the order is both      
intelligent and  rich1 and will not     
question the price4 ,having pledged     
himself in this  way1 he spoke to me    
about it1 and said1 ,here is a fine     

opportunity4 ,it  is true you will have 
to work hard1 but you will be           
recompensed4 ,the  money for this will  
belong entirely to you1 as ,i can do    
absolutely  nothing on it4 ,i said yes1 
to satisfy him2 but in reality ,i       
intended to  leave the gain to him1 only
 taking something not to humiliate him4 
,sidenote3 ,,the ,,group ,,is ,,stolen4 
,the work was begun3 ,i made a little   
model in clay1 gave it a great deal  of 
study1 and took much interest in it4 ,i 
got on with it very well1 but  slowly1  
as is natural2 and the man in question  
came almost every week to  see it and   
hurry on the work1 saying the person who
 had given the  commission was most     
desirous of seeing it1 and that we must 
let him know  when it would be in a     
condition to be seen1--in brief1 when   
the little  group would be nearly       
finished4 ,to say the truth1 it was     
entirely  finished2 but as then a doubt 
came up as to whether1 in order to      
finish  it entirely1 it would be well to

 put the lamb at ,st ,john's feet1 and  
as  he would not decide upon so         
important a matter1 he proposed to my   
father--,i was not present--to show it  
to the person who had commissioned  it  
at his house1 as he could not come to   
see it at the shop2 and he also         
congratulated my father on his work1    
which he felt sure was most             
praiseworthy4 ,the house is not far     
off--a mere step or two for me there    
and back--and so the question about the 
lamb will be decided4 ,so  saying1 he   
took the little group1 wrapped it up in 
a handkerchief1 and  begging my father  
not to move from the shop1 that on his  
return he might  not be kept outside    
waiting with the group1 he went away1   
and never more  was seen4    ,i need not
 say how my father felt3 as for me1 for 
more than a year my  fixed idea was1    
could ,i but only meet the man who had  
robbed me6 ,i  looked for him in the    
streets1 in the market-places1 in the   
churches--yes1 even in the churches4    

,for had he not stolen a ,holy ,family  
from me8 ,he might also steal a lamp or 
a candle hung before some image4  ,the  
ardent desire ,i felt to find the thief1
 was not to put him into the  hands of  
justice--for1 more than the actual loss 
of the money1 ,i felt  roused by the    
insult and mockery of it4 ,i wanted to  
teach him what a  lamb was6 ,i6 yes     
indeed2 for although ,i was young then1 
,i was not at all  weak1 and there was  
more than enough strength in me to break
 his nose  and give him a black eye4 ,i 
foresaw all the consequences1 even to my
  imprisonment1 which would undoubtedly 
have followed1 for ,i was fully  aware  
that one cannot administer justice on   
one's own account4 ,it did  not matter  
to me2 ,i felt ,i must break his nose   
with my own fists6 ,as  these were my   
thoughts then1 ,i am obliged to narrate 
them as they are1  though ,god forgive  
me6 ,all this1 however1 was useless1 for
 ,i never saw  him again4    ,sidenote3 
,,description ,,of ,,the ,,group4    ,as

 wood is not wax1 this group must be    
somewhere now1 and will last for  some  
time to come2 so ,i leave the           
description of it1 that he who is the   
present owner may know that its first   
possessor was a thief4    ,the little   
group is a little more than a palm in   
height2 it is of linden  wood1 and is   
composed of four figures in high relief4
 ,the ,madonna is  seated1 with the     
infant ,jesus in her arms1 who1 with    
both ,his arms  around the ,virgin's    
neck1 is in the act of reaching up to   
kiss her1 and  she presses ,him to her  
bosom with one hand1 whilst the other   
hangs down  on her left side4 ,st       
,joseph is bent forward and kneeling1   
with an  expression of love and         
adoration2 and little ,st ,john1 also on
 his knees1  behind the ,virgin1 is     
pulling aside her mantle that he may see
 this  touching scene4 ,st ,joseph is at
 the right and ,st ,john on the left of 
the  ,virgin4          ,,chapter ,,iii4 
,a ,,punishment ,,well ,,deserved1 ,,and

 ,,my ,,satisfaction--,,different       
,,times1 ,,different ,,customs--,,the   
,,use ,,of ,,the ,,birch ,,given ,,up   
,,in       ,,schools--,a                
,,portrait--,,companions ,,and ,,bad    
,,habits--,,how ,i ,,became             
,,acquainted ,,with ,,my ,,dear         
,,marina--,,my ,,first ,,time ,,of      
,,speaking ,,with                       
,,her--,,difficulty ,,to ,,obtain ,,my  
,,mother',s ,,consent ,,to ,,our        
,,marriage--,,she ,,makes ,,trouble1    
,,thinking ,,to ,,do ,,well--,i ,,am    
,,sent       ,,away ,,from ,,my         
,,betrothed1 ,,and ,,return ,,to ,,bad  
,,habits--,,an       ,,escapade--,,the  
,,public ,,baths ,,of                   
,,vaga-,,loggia--,,my ,,clothes         
,,stolen4      ,perhaps some one may    
think1 ,how is it that1 after so many   
years1 you  have been able to remember  
the composition of your work8 ,to say   
the  truth1 even ,i am surprised2 but it
 must be taken into consideration  that1
 besides being gifted with a most       

tenacious memory1 the first  efforts of 
the mind remain more firmly engraved    
thereon1 being produced  by the workings
 of one's whole soul4 ,so it is with    
one's affections and  one's hopes4 ,add1
 therefore1 to this1 the brutality of   
the offence1 and  it will be seen that  
,i could not forget it in any way4      
,in the meantime1 in ,sani's shop ,i had
 made for myself an almost enviable     
position4 ,all the works of a certain   
importance were given to me4 ,the       
principal placed entire confidence in my
 judgment and skill--so much so1  that  
he put me at the head of the young men  
in the shop1 and delegated  to me the   
direction of the great works that were  
being executed at that  time for the    
approaching nuptials of the ,grand ,duke
 ,leopold ,,ii4 with  the ,princess     
,antoinetta of ,naples4 ,i had even the 
satisfaction of  directing a certain    
,saladini1 a young ,sienese who had come
 to help us1  and whom ,i had known at  
,siena at the ,academy of ,fine ,arts4  

,there we had  been companions and      
fellow-students1 sharing the same desk2 
but to say  the truth1 he drew better   
than ,i did1 which irritated me1 and one
 day we  came to words1 and ,i said     
boastfully that ,i defied him to draw   
with me1  and could easily beat him4    
,sidenote3 ,,bragging ,,and ,,birching4 
,it appears that the master heard loud  
words1 and from the glass  bull's-eye in
 the door of the room from which he     
dominated the whole  school1 he saw me  
standing by the desk with one leg in the
 air1 my arm  passed under my thigh1    
making a drawing of a ,corinthian       
capital4 ,i could  not see the master1  
as my back was turned to him2 neither   
did ,i perceive  how silent the school  
was1 nor the singular attention my rival
 was  devoting to his work4    ,the     
reason of it all1 however1 ,i soon      
discovered1 or rather felt1 from a      
sharp switch on my back1 and before ,i  
could put my leg down1 three or  four   
good blows1 accompanied with these      

words1 ,and this is the prize  for those
 who are skilful in drawing from under  
their legs4 ,these words  were          
accompanied by the general ill-repressed
 hilarity of the school1  and especially
 of my rival ,saladini4 ,i confess the  
blows1 and even the  laughter of my     
companions which made them more         
stinging1 were well  merited2 but ,i    
remember that ,i took it in bad part1   
especially as my  friend ,saladini1 who 
certainly had seen the master1 had not  
warned me1  as ,i felt ,i should have   
done in his place4 ,for this reason ,i  
rejoiced  when he came to ,florence to  
work in our shop1 and was put by the    
principal under my direction1 when ,i   
could and was obliged to correct  him   
and say1 ,no1 it is not right in this   
way2 you must do so and so4 ,i  must    
add1 however1 that ,i did not make any  
abuse of my power1 that  ,saladini had  
no reason to complain1 and that we      
became good friends4    ,sidenote3 ,,the
 ,,birch ,,at ,,school4    ,it now      

occurs to me to make an observation4 ,i 
had a switching1 therefore  the birch   
existed in our schools4 ,the master     
could administer it and  the scholar    
receive it coram populo officially1     
according to the  natural order of      
things1 as a legitimate correction2 but 
,i ask1 if  to-day a master in our      
,academy1 or in fact in any academy in  
,italy1 gave  four blows on the back of 
a young man1 be his fault even much     
greater  than mine1 what would happen8  
,the heavens would fall2 there would be 
a  revolution in the school and shouts  
without1 and a scandal for the  master4 
,the ill-advised master would be        
reprimanded by the head-master2  a      
report made to the ,minister of ,public 
,instruction2 the master  dismissed     
altogether or sent elsewhere2 and       
perhaps even1 if the  ,ministry be      
,progressista1 all would lose their     
places4    ,so it is4 ,o tempora6 ,o    
mores6 ,but is it1 after all1 a bad     
thing to  administer a good whipping to 

a rascal who1 instead of studying       
himself1  annoys those who are really   
working1 instigates them to leave       
school1  and leads them to do wrong by  
using bad and obscene words1 swearing1  
and  drawing and writing improper things
 on the ,academy walls8 ,they can be    
sent away from school1 but they must not
 be beaten1 is the answer4 ,but  the    
fact is1 that though they ought to be   
sent away1 they are always  allowed to  
remain4 ,would it not1 therefore1 be    
better to administer a  little corporal 
punishment with the birch before        
arriving at this  finale8 ,where is the 
harm of it8 ,i have had it myself1 and  
at fifty  years of age am well and      
strong4 ,but enough of this4            
,sidenote3 ,,saladini--,,bad            
,,companions4    ,the good ,saladini1   
therefore1 was placed under me4 ,he     
endured and even  appeared to enjoy my  
corrections4 ,in fact1 he had a         
character and  temperament that         
prevented his feeling anything4 ,he was 

a young fellow  about eighteen or       
nineteen1 older than ,i was1 small1 fat1
 with good  colouring1 chestnut hair1   
and light eyes which never grew animated
 and  moved slowly1 seeing little and   
being surprised at nothing4 ,he never   
got  angry1 and laughed in the same way 
when he heard of an accident as when  he
 heard a joke4 ,it was not that he was  
stupid1 for his words1 though  few1 were
 not devoid of sense4 ,he ate more than 
,i did1 and drank more  too1 and retired
 to bed early1 being an enemy of walks1 
of discussions1  and merrymaking even of
 the most discreet and proper kind4 ,he 
lived but  a short time1 and died as    
soon as he returned to ,siena1 ,i don't 
know of  what malady4 ,not of disease of
 the heart1 however2 for although his   
heart was not bad1 yet it seemed a      
useless part of him1 never beating  with
 any feeling of emotion or passion3     
there it was1 quite stock-still1        
seeming even dead1 like the hearts of   
stoics or stupid people1 which are      

about the same thing4 ,those1 however1  
who have the misfortune to be made  in  
this way1 live a long time1 eat much1   
drink much1 and sleep--above  all things
 sleep--profoundly2 and so did he1      
though only for a short  time1 because  
he died4 ,it was better so1 for who     
knows whether his heart  would not have 
waked up some day1 repented the time    
lost in sleeping1  and quickened its    
beat8 ,therefore it was better so4 ,may 
the earth weigh  lightly on you1 my     
friend1 and the peace of the ,lord      
rejoice your  spirit6    ,sidenote3 ,i  
,,first ,,see ,,my ,,wife4    ,by this  
time ,i had grown to be a young man     
beloved by my friends1 who  were not    
many1 and not all of them excellent4    
,some were a little too  full of life1  
like myself1 and these gay young fellows
 used sometimes to  drag me to places   
where young men of good repute should   
never go--,i mean  to osterias and      
billiard-rooms4 ,in such places there is
 loss of time1  loss of health1 and loss

 of morals4 ,vaguely ,i felt1 even then1
 the  impropriety of such places1 and an
 internal sense of dissatisfaction      
warned me to break off from these habits
 and to avoid these friends4  ,indeed at
 home ,i was no longer like the same    
person4 ,i was restless1  intolerant1   
despising the naturally frugal meals of 
the family2 and my  mother1 my poor     
mother1 suffered for this1 but my father
 was angry1 and  sometimes with loving  
words and sometimes with severe ones he 
reproached  me for my crabbedness and   
caprices1 and ,i then felt sincere      
regret1 and  my heart softened1 and     
quite overcome ,i embraced my mother4   
,for all  this1 the road that ,i had    
taken was a slippery one4 ,i no longer  
studied  anything or drew as ,i had     
always done before4 ,i read very little1
 and  that little was rubbish4 ,praised 
and cajoled by my companions1 quite     
satisfied with the kind of superiority  
,i had acquired amongst them in  the    
shop1 ,i might have fallen very low1 and

 have become a  good-for-nothing man1   
and perhaps a despicable one2 but ,god  
willed it  otherwise4 ,and now that ,i  
must begin to speak of her who saved me 
and  loved me1 and whom ,i loved and    
esteemed always1 because she was so rich
  in all true virtues1 ,i feel my hand  
tremble1 and the fulness of my love     
confuses my ideas4 ,one day as ,i was   
standing by my work-bench1 ,i saw a     
young girl pass with quick short        
footsteps1 quite concentrated in        
herself4 ,it was but a fugitive         
impression1 but so vivid that every now 
and then that vision came back to me and
 seemed to comfort me4 ,i had not  seen 
the features of her face1 nor her eyes1 
which she kept on the  ground2 and yet  
that upright modest little figure1 those
 quick little  footsteps1 had taken my  
fancy4 ,i desired to see her again4     
,every now and  then ,i looked up from  
my work1 in the hope of seeing the      
person that ,i  had been so struck by2  
but ,i did not see her again during that

 day or  the following ones4            
,sidenote3 ,,mass ,,at ,,santi          
,,apostoli4    ,the second festa of     
,easter ,i was at ,mass in the ,church  
of the ,santi  ,apostoli near by4       
,suddenly lifting my eyes1 ,i saw facing
 me the dear  young girl on her knees4  
,her face was in shadow1 as it was bent 
down1  and the church was rather dark1  
but the features and general expression 
were chaste and sweet4 ,i stayed there  
enchanted4 ,that figure in her  modest  
dress and humble attitude1 so still1 so 
serene1 enraptured me4  ,when ,mass was 
finished1 the people began to go away1  
but she still  remained on her knees4   
,at last she rose and went out1 and ,i  
followed her  from afar4 ,she stopped at
 a house on the door of which ,i saw the
 sign of  laundress4 ,i could not       
believe that such a modest serious young
 girl  could be so employed2 for as a   
general thing1 laundresses are rather   
frisky and provocative1 turning their   
heads and glancing about1 and  sometimes

 very slovenly in their dress--in fact1 
the opposite of all  that dear good     
creature was4 ,from the first moment    
that ,i saw her ,i felt  for her a      
respectful admiration1 a tranquil serene
 brotherly affection  and trust4 ,i was 
seized with an irresistible desire to   
love her1 to  possess her1 and to have  
my love returned4 ,often without her    
knowing it1  ,i followed her at a       
distance1 to assure myself of her       
bearing and her  ways1 and always       
observed in her a chaste1 serious1 and  
modest nature4  ,at last ,i attempted to
 follow her nearer2 and when she became 
aware of  it1 she hastened her steps and
 crossed to the other side of the       
street4  ,i was disconcerted1 but at the
 same time felt contented4 ,one day1    
however1 ,i decided at any cost to speak
 to her1 and to open my heart to  her2  
and as ,i knew the hour when she was in 
the habit of passing by the  ,piazza di 
,san ,biagio1 where ,i was at work1 ,i  
held myself in readiness1  and as soon  

as ,i saw her1 went out and followed    
her1 that ,i might draw  this thorn out 
of my heart4 ,yes1 ,i somehow thought   
she would not take my  offer amiss4 ,she
 crossed the ,loggia del ,mercato and   
took the ,via di  ,baccano and          
,condotta1 and turned into the          
,piazzetta de' ,giuochi1 and ,i  always 
followed her nearer and nearer4 ,at last
 she became aware of this1  stopped     
suddenly1 turned1 and without looking me
 in the face1 said1 ,i  want no one to  
follow me4    ,sidenote3 ,i ,,follow    
,,marina--,,her ,,rebuke4    ,i         
stammered a few words1 but with so much 
emotion in my voice1 that she  again    
stopped1 looked at me a moment1 and     
said1 ,go home to your mother1  and do  
not stop me again in the streets4    ,i 
gave her a grateful look1 and we parted4
 ,i returned to the shop with  my heart 
overflowing with love and hope4    ,from
 that day a great change took place in  
me3 companions1 rioting1 and  billiards 
disappeared as by enchantment from my   

life4 ,that same evening  ,i went to the
 laundry4 ,i saw the mistress of it1 and
 with an excuse of  having some work to 
give her1 ,i spoke to her casually1 and 
in a general  way1 of the young girl    
7whose name ,i did not know72 but she   
being very  sharp1 smiled and said--    
,ah yes2 ,marina--certainly--,i         
understand4 ,but take care and mind what
 ,i  say2 ,marina is such a             
well-conducted girl that she will not   
give heed to  you4    ,but ,i did not   
say that ,i wanted to make love to her4 
,i know2 but ,i understood it1 and ,i   
repeat that she will not listen to      
you1--and if you want to do well1 you   
will never come here again4 ,here  there
 is work and not love-making to be done4
 ,but if you like1 you might  go to her 
house and speak with her mother4        
,perhaps then--who knows8 ,but  ,i      
should say that nothing would come of   
it1 and it would be better so4  ,you are
 too young1 and so is she4 ,now you     
understand4 ,so go away1 and  good-bye4 

,sidenote3 ,i ,,go ,,to ,,see ,,marina4 
,thank you1 ,i understand2 but where is 
,marina's house8    ,it is in the ,via  
dell',ulivo1 near ,san ,piero4          
,good-bye1 ,signora maestra4    ,your   
servant4    ,the day after this ,i went 
to ,marina's house and found her mother 
,regina4  ,the house was a small one1   
but very clean4 ,in a few words ,i      
opened my  heart to her and told her    
all1 even of my having stopped ,marina  
in the  ,piazzetta de' ,giuochi4 ,regina
 was a woman of about forty years of    
age1  and a widow4 ,she listened quietly
 to me until ,i got to the end1 and then
  only blamed me for having stopped her 
daughter in the street4 ,she added  that
 she would think about it2 but she did  
not conceal from me that she  thought me
 too young4 ,i hastened to tell her how 
much ,i made by my day's  work1 and that
 ,i had a settled occupation4 ,she then 
wished to hear about  my family1 and    
showed a desire to know my mother2 and  
after having  spoken to ,marina1 she    

said she would allow me to come to the  
house of an  evening two or three times 
a-week4 ,so far things went well2 but at
 home  ,i had as yet said nothing1 and  
this ,i was obliged to do1 as it was the
  first condition made before ,i could  
go to the girl's house4 ,i was not      
afraid of my father1 because1 single or 
married1 it was the same to him1  as    
long as ,i continued to help him in the 
work he required of me2 but as  regards 
my mother1 it was quite another pair of 
sleeves4 ,as soon as ,i  had opened my  
mouth ,i saw a frown on her beautiful   
forehead1 and she  would not let me go  
on to the end1 saying that ,i was doing 
wrong1 that ,i  was too young1 that ,i  
ought to think of the shop1 of my       
family1 and  make for myself a standing4
 ,not without tears she made me feel    
that she  looked upon this determination
 of mine as a sign of want of love for  
her4 ,i attempted in every way to       
persuade her that ,i always cared the   
same for her1 and that this new         

affection would in no wise diminish my  
love for her2 that the young girl was an
 angel2 that she would be  pleased by   
her1 and love her like a daughter4 ,i   
embraced her1 and wept1  and she took   
pity on me1 poor mother6 ,she           
condescended to make the  girl's        
acquaintance1 and so we went to her     
house4 ,the two mothers talked  a long  
time together1 whilst ,marina put some  
things in order here and  there about   
the room1 without going away2 and you   
could see the  embarrassment of the poor
 girl4 ,i held one of my mother's hands 
in mine1  and kept my eyes on ,marina1  
who never looked at me once4            
,sidenote3 ,,opposition ,,to ,,my       
,,marriage4    ,it was settled that ,i  
could go to the house two or three times
 a-week  without speaking of the time   
that was to elapse before the day of the
  wedding4 ,yes1 ,i really was too      
young1 as ,i was only eighteen4    ,all 
these particulars may seem superfluous1 
and for most people they  certainly are 

so2 but ,i meant1 and ,i said so from   
the first1 that these  memoirs should be
 destined for my family and for young   
artists1 to whom  ,i desire to show     
myself such as ,i am1 even in all the   
truth and purity  of the most tender of 
affections4 ,then it is with a feeling  
of tender  gratitude and painful sadness
 that ,i go back in memory to those days
 of  my meeting with her1 the           
difficulties that arose to prevent our  
union1  and the very great influence she
 had over me4 ,from these pictures      
interpolated now and then amongst these 
papers1 young men of good  intentions   
will feel the charm that surrounds the  
sanctity of domestic  affections4 ,every
 other evening ,i saw the good and      
charming girl4 ,i  remained for only    
about an hour or so--such was her       
mother's desire4  ,whilst both of them  
worked--the mother spinning and the     
daughter sewing  together their long    
braids of straw--,i talked to them of my
 work in the  shop1 of my studies1 and  

of my hopes4 ,again returned to me      
stronger than  ever the desire to do    
figure-work1 and a vague1 persistent1   
and fierce  hope to become a sculptor in
 marble4 ,when in various forms ,i      
expressed  these my thoughts1 ,marina1  
who was listening to me with her eyes on
 her  work1 looked up to me and seemed  
to search in mine for the meaning of my 
words4 ,poor ,marina1 you did not then  
understand what agitated the heart  of  
your young friend4 ,later you           
understood2 and although full of fears1 
you did not discourage him4 ,but        
enough--do not let us anticipate4       
,although my poor mother had yielded to 
my prayers1 and had convinced  herself  
that ,marina was a well-conducted girl1 
industrious1 docile1 and  honest1 yet   
she could not1 as she said1 be persuaded
 that she would have  to lose me2 and   
every evening when ,i returned home and 
tried to speak to  her of ,marina1 she  
would be troubled1 and break off the    
conversation as  if it annoyed her4     

,already1 unknown to me1 she had gone   
several times to  the mother of the     
young girl1 and said that ,i was too    
young--that ,i  ought to think more of  
my studies than taking to myself a wife1
 of whom  in the end ,i should tire2 and
 poor little ,marina would be sure to   
suffer1 in the first place because she  
cared for me1 and in the second  place  
because1 if abandoned by me1 she would  
find it hard to get a  husband4 ,all    
these things were said by my poor mother
 for love for me  and through the fear  
of losing me4 ,i knew it some time      
after4 ,but now  let us see what were   
the fruits of these words of hers4      
,one morning--it was ,sunday--,i went to
 ,marina's house feeling more           
light-hearted than usual4 ,it was about 
one o'clock1 after ,mass4 ,i went       
up-stairs1 knocked1 and ,regina opened  
the door to me2 but as ,i entered ,i    
heard a rustling sound1 and saw ,marina 
retiring into her little room4  ,her    
mother was more serious than usual1 but 

seemed not to wish to show  it4 ,i      
perceived at once that there must be    
something the matter1 and  wished to    
clear it up4 ,so ,i began--             
,sidenote3 ,i ,,am ,,sent ,,away4       
,marina--where is she8 ,is she not at   
home8    ,yes2 she is in her room4      
,does she feel ill8 ,i hope not4    ,she
 has nothing the matter with her1 thank 
,god2 but as ,i have something  to say  
to you1 and as she knows what it is ,i  
want to say1 she would not  remain1 and 
has retired to her room4    ,after this 
preamble1 although there was nothing    
that ,i could reproach  myself with1 ,i 
felt quite frozen up4    ,what is it    
then that you have to say to me8        
,listen1 and don't take it ill2 in fact1
 ,i have already told you from  the     
first that you are too young1 and who   
knows when you will be able to  marry my
 daughter8 ,from now until then some    
time must elapse1 and ,i have  no wish  
that you should occupy that time sitting
 about on my chairs4  ,then1 too1 you   

may change--your companions may put you 
up to this2 and  we are poor people but 
honest1 and ,i don't want my ,marina to 
be courted  by one who----    ,enough1  
,regina--enough4 ,it is true ,i am too  
young1 but you knew it when  you allowed
 me to come to the house4 ,my earnings  
seemed then sufficient2  and if no date 
was fixed for the marriage1 it was      
because it was not  asked4 ,i am        
decided1 if it so pleases ,marina1 to   
take her home in a year  or a year and a
 half's time4 ,your words are the result
 of the  tittle-tattle of people who    
wish us ill4    ,sidenote3 ,,temporary  
,,separation4    ,no1 ,regina hastened  
to say--no1 they are not ill wishes of  
you or of  us4 ,but you understand me   
quite well1 that if ,i speak in this    
manner to  you1 it is for the good name 
of my daughter4 ,nothing is damaged by  
it4  ,for the present you will be so    
good as not to come to the house4 ,if it
  is a rose1 as they say1 it will       
blossom2 and when you return and say1   

next month1 ,i want to marry ,marina1   
you need have no fears2 she will  wait  
for you4    ,i remained silent and sad1 
and then said--,is this also ,marina's  
wish8    ,it is4    ,will you allow me  
to say one word to her before going8    
,say it1 certainly4    ,i went to her   
door and pushed it open a little4 ,she  
was standing with  one hand leaning on  
the back of a chair2 her eyes were cast 
down1 but  the expression of her face   
seemed tranquil4 ,marina1 ,i said1 your 
mother has sent me away1 and she has    
told me that this is also your  wish4   
,she lifted her eyes and moved a little4
 ,i therefore obey1 but be  sure that ,i
 will never look into the face of       
another young girl until ,i  come to    
claim you for mine4 ,do you accept my   
promise willingly8    ,yes1 she         
answered1 with a steadfast quiet voice4 
,then ,i stepped nearer  to her and put 
out my hand4 ,first she looked towards  
her mother1 and  then she put her hand  
in mine1 and we looked at each other1   

and in her  eyes ,i saw a little tear1  
and her faith in my promise4    ,i went 
away pierced to the heart1 but firm in  
my resolve4 ,neither at  home nor at the
 shop could they understand what was the
 matter with me1  for my whole character
 had so changed4 ,i think my mother     
understood what  it was1 for she        
caressed me more than usual1 and asked  
me no questions2  and ,i set my heart at
 rest1 because ,i trusted in the        
strength of  character and true nature  
of the girl4 ,although it was prohibited
 me to  go to her house1 yet ,i made it 
a study how to meet her out of doors1   
and1 without being seen1 to see her1 and
 even follow her from a  distance4 ,i   
was not at peace1 however--not because  
,i had any fears as  regards her1 but ,i
 was afraid of myself4 ,i felt an aching
 void within me  that nothing would     
fill4 ,i saw smiling dreams of fame and 
honour vanish  little by little4 ,i     
heard a voice whispering within me--,put
 an end1  poor fool1 to your melancholy2

 you were born poor and ignorant1 and so
  you will die4 ,qualities are required 
to lift one's self above others  that   
you are entirely wanting in4 ,genius is 
necessary1 and you cannot  say that you 
have it4 ,education is necessary1 and   
you have none4 ,money  is necessary1 and
 you have not a farthing4 ,above all1 a 
strong will is  needed1 and yours is    
most variable1 transient1 and weak1     
bending to the  slightest breath of a   
contrary wind4 ,put an end to it all1   
and do as ,i  say3 enjoy day by day     
whatever is given to you to enjoy4      
,amuse yourself  with friends your      
equals1 and whenever any of these       
thoughts oppress  you1 drown them in a  
glass of wine4 ,as to your young girl1  
remember it  is as her mother has said1 
',if it is a rose1 it will blossom4'    
,up6 up6  ,viva6 and keep a light heart4
 ,i already felt myself half yielding to
  these suggestions4 ,i was             
down-hearted1 and had not the strength  
to shake  myself free from this strait  

of discouragement and desolation4       
,sidenote3 ,i ,,resume ,,my ,,bad       
,,habits4    ,i had but little religion 
in me1 which alone could have comforted 
my  soul with constancy and faith in    
these first ebullitions of life2 so it  
is not to be wondered at if1 in this    
state of languor and discontent1 ,i     
again turned to the amusements of my    
friends1 losing not a few hours in  the 
public billiard-rooms4 ,i returned to   
one of the worst of habits1  for him who
 has a home--that of going to the       
osteria2 and ,i remember  to have felt  
humiliated on finding myself in the     
midst of that noisy1  vulgar merriment1 
and hearing the coarse words uttered in 
those taverns1  where the air was heavy 
with wine1 food1 and cigar-smoke4 ,the  
chaste  image and simple gentle words of
 my good ,marina came back to me1 and ,i
  felt troubled1 and1 shaking myself1 ,i
 used to rise abruptly and go away4     
,sidenote3 ,,quarrel ,,and ,,fight4     
,yes1 truly the image of that gentle    

being aroused me1 and made me return  to
 myself with a feeling of shame1 and a  
determination to put an end to  all     
this4 ,it was providential1 however1    
that not only her image but she  herself
 appeared to arrest me on the brink     
where ,i had allowed myself to  be      
dragged1 and my meeting with her        
deserves to be narrated4    ,months had 
passed since ,i had been sent away from 
my ,marina's house4 ,it  happened one   
day1 it being a festa1 that ,i had      
promised to go out of  the ,porta ,san  
,miniato to meet some friends and eat a 
fresh plate of  salad2 and when ,i was  
near the ,church of ,san ,niccolo1 ,i   
could not cross  the street on account  
of the procession that was just coming  
out of the  church4 ,i think it was     
during the ,octave of ,corpus ,domini3  
there were  many people1 and ,i waited  
until the procession had passed2 then1  
perhaps  because ,i was in such a hurry 
to overtake my friends1 in passing by ,i
  inadvertently knocked against two     

women who were in the company of a      
young man4 ,they took it in ill part1   
and the young man1 thinking perhaps     
that ,i had knocked against them on     
purpose1 said--    ,has the boor passed 
by8    ,you are a boor yourself1 ,i     
answered4    ,pass on1 if you want to4  
,and he gave me a push4 ,i turned around
 on him  and hit him a blow in the face1
 and from that instant ,i had all three1
  the youth and the girls1 down on me4  
,but they got little good out of it3    
the young fellow1 who was rather slight 
than otherwise1 was put at once  out of 
fighting condition by two blows of my   
fist in the face2 and ,i  freed myself  
from the girls1 who seemed like         
infuriated harpies4 ,in an  instant     
lace1 ribbon1 and feathers flew in the  
air like dry leaves  scattered by the   
wind4    ,sidenote3 ,,escape ,,from     
,,the ,,police4    ,a space was cleared 
around me1 and some said1 ,oh1 what a   
scandal6  others1 ,bravo6 ,some ran     
away1 some laughed1 and the soldiers    

came to  clear the place and quell the  
tumult1 and the sbirri 7for there were  
sbirri then7 to make arrests4    ,a     
mounted dragoon stationed himself in    
front of the church4 ,a  strong-built   
young man1 then practitioner at the     
hospital1 and now a  distinguished      
physician--,doctor ,gozzini--seeing the 
bad plight ,i was in1  and having been  
one of those who had called out ,bravo6 
came quickly to  me1 and taking me by   
the arm1 hid me amongst the crowd1 and  
took me with  him behind the mounted    
dragoon4 ,there we stood quite still1   
and saw them  arrest the poor young     
fellow with his broken nose1 and the    
girls with  their crushed hats4 ,i was  
not discovered that evening4 ,they found
 me1  however1 easily enough next       
morning at the shop2 but ,i will speak  
of  this later4 ,and now ,i feel in duty
 bound to assert that that was the  last
 escapade of that kind that ,i was      
guilty of4 ,i feel strong enough  7or1  
as some may think1 weak enough7 now to  

bear quietly similar words  and acts    
that so outraged me then4 ,ah6 indeed   
age and experience are1 as  one may say1
 like the grindstone that rounds and    
softens down the  asperities and        
impetuosities of early youth to form the
 character4    ,not to excuse the affair
 nor the violence of my ways1 but for   
the love  of truth1 ,i feel bound to    
narrate another adventure that happened 
to me  on the morning of that same day1 
which had perhaps served to exasperate  
my already irritable state of mind4     
,about mid-day ,i had betaken myself  to
 the public baths of ,vaga-,loggia1 a   
bathing-place which was formed out  of  
that part of the canal called the       
,macinante running between the          
,franzoni ,palace and the palace        
belonging to the ,baroness ,favard4 ,it 
was  covered in by a framework of wood1 
with awnings1 and the entrance was by  a
 little door and through a narrow       
corridor that went along the side of    
the canal4 ,at the end of this passage  

was a sort of stand1 and a room  that   
was used for undressing1 and where1 for 
a few soldi1 an employ  of the          
municipality was stationed1 who         
furnished towels1 and took charge  of   
the clothes and other effects belonging 
to the bathers4 ,for those  also who    
could not or would not pay1 below the   
steps leading to the  baths there was a 
sort of small amphitheatre with a little
 wall around  it1 and in this wall      
niches to put one's clothes in4 ,it     
seems to me that  ,i have seen a        
something of the same kind that was used
 for a similar  purpose at ,pompeii1    
only there they were hot baths4         
,sidenote3 ,,clothes ,,stolen ,,at      
,,bath4    ,i chose this second-named   
place1 which was more economical        
certainly1  but not so safe1 as you will
 see4 ,after having bathed1 on coming   
out of  the water ,i went to my little  
niche and found it empty4 ,i looked     
about1  inquired1 and swore4 ,no one    
knew anything about my clothes4 ,at     

first ,i  thought it was a joke1 to keep
 me some time naked2 but at last ,i was 
convinced1 and the other bathers as     
well1 that my things had all been       
stolen4    ,sidenote3 ,i ,,borrow       
,,another ,,dress4    ,what was there   
then to do8 ,nothing had been left--they
 had taken  everything2 and to say the  
truth1 it did not seem at all comic to  
me1  however others might laugh4 ,a     
friend relieved me from my              
embarrassment4  ,he dressed himself in  
haste1 went home to his house1 which was
 on the  ,prato1 and brought me all ,i  
required1 from my shoes to my hat4 ,i   
dressed  myself1 went home in the worst 
of tempers1 and ,i have already         
described  what followed4               
,,chapter ,,iv4         ,,return ,,to   
,,the ,,house ,,of ,,my ,,betrothed1    
,,and ,,put ,,an ,,end ,,to ,,my        
,,thoughtless ,,ways--,a ,,talking      
,,parrot--,,he ,,who ,,does ,,not ,,wish
 ,,to       ,,read ,,these ,,pages      
,,knows ,,what ,,he ,,has ,,to          

,,do--,,how ,i ,,went ,,to ,,prison1    
,,and ,,how ,i ,,passed ,,my ,,time     
,,there--,,the ,,death ,,of ,,ferruccio1
 ,,by       ,,the ,,painter             
,,bertoli--,,signor ,,luigi ,,magi1     
,,the ,,sculptor--,,how ,i              
,,learnt ,,to ,,become                  
,,economical--,,shirts ,,with ,,plaited 
,,wrist-,,bands--,,the ,,first          
,,love-,,kiss1 ,,and ,a ,,little ,,bunch
 ,,of       ,,lemon-,,verbena--,,my     
,,marriage--,,my ,,wife ,,has ,,doubts  
,,as ,,to ,,my       ,,resolution ,,of  
,,studying ,,sculpture--,,pacetti',s    
,,shop ,,in ,,palazzo                   
,,borghese--,i ,,sell ,,the ,,santa     
,,filomena ,,to ,a ,,russian1 ,,who     
,,re-,,christens ,,her ,,hope--,i       
,,begin ,,to ,,work ,,on ,,marble--,i   
,,make ,a       ,,little ,,crucifix ,,in
 ,,boxwood1 ,,which ,,is ,,bought ,,by  
,,cav4 ,,emanuel       ,,fenzi--,,verses
 ,,by ,,giovanni ,,battista ,,niccolini4
      ,and now to return to my          
unfortunate escapade1 which1 so to      

speak1 was  the cause of my good        
fortune4 ,whilst they were looking for  
me1 hidden in  the crowd1 ,i got away by
 slow degrees to the ,porta ,san        
,miniato1 and1  keeping close to the    
walls up the hillside1 escaped the      
observation of  the police2 and then1 on
 thinking over the danger ,i had run1   
and the  scandal ,i had created by my   
folly1 ,i resolved to mend my ways4     
,here the  remembrance of the dear      
gentle maiden came over me1 and ,i      
thought if ,i  had been with her and had
 not been driven away1 this disturbance 
would  never have taken place4 ,her     
presence1 her words1 the desire of      
possessing her1 and being loved and     
esteemed by her1 were necessary to  me4 
,at last ,i returned to town by the same
 road1 and1 going up by the  ,renai1 ,i 
crossed the ,ponte alle ,grazie1 and    
near there ,i saw ,marina and  her      
mother walking before me4 ,my heart     
leaped within me6 ,had they been  to the
 procession8 ,did they know what had    

happened1 and had they seen  me8 ,what a
 start it gave me6 ,to appear such a    
poor creature in her eyes  was          
intolerable3 what others might say was  
nothing compared to her  condemnation2  
and1 let alone condemnation1 what ,i    
feared was the loss of  her esteem4     
,under the influence of this fear1 ,i   
had not the courage to  address her2 but
 at last1 this uncertainty seeming too  
bitter to bear1 ,i  went up to her      
mother's side and said1 ,good evening1  
,regina4    ,sidenote3 ,i ,,return ,,to 
,,marina',s ,,house4    ,oh1 see who is 
here6 ,good evening1 she replied1 with a
 joyful face4    ,i felt a new life come
 to me4    ,what6 have you been to the  
procession8 she said4    ,i looked both 
straight in the face and answered1 ,i   
come from that  direction4 ,i have been 
out of the gate of ,san ,miniato4       
,have you heard that there has been a   
disturbance in the ,piazza di ,san      
,niccol8    ,i believe so2 but it was a 
mere nothing4    ,ah1 not so much of a  

mere nothing4 ,they came to blows2 there
 were some  women among them2 the       
soldiers came--the dragoons4 ,i tell you
 it was a  great row4 ,besides1 some    
have been arrested1 and will be taken to
  prison2 and it serves them right4     
,pretty business1 such a scandal as     
this6    ,after a pause1 ,i began again1
 turning to ,marina--    ,where were you
 when you saw the procession8    ,we6   
answered ,marina--we were in the church4
 ,we saw it go out1 and a  little after 
the disturbance occurred4 ,i had such a 
fright6    ,sidenote3 ,,story ,,of ,a   
,,parrot4    ,having ascertained that   
they knew nothing of my doings1 ,i was  
consoled1  changed the conversation1 and
 accompanied them down from ,santa      
,croce to  their house4 ,when we were on
 the threshold ,i sadly said good-night2
 but  ,regina1 to my great surprise and 
pleasure1 said to me1 ,won't you come   
up for a little while8    ,well1 if you 
will permit me1 ,i will stop a little   
while with the  greatest pleasure4 ,and 

looking into the face of my good        
,marina1 her  eyes seemed to say1 ,yes1 
,i am most happy4 ,we then went         
up-stairs1 and  ,i remained there only a
 short time1 so as not to appear to     
presume upon  their kindness2 but in    
taking leave1 ,i told the mother that ,i
 should  return the next day1 for ,i had
 something to say to her4 ,my resolution
  was taken4    ,have you done at last  
with all your childish follies1 your    
tiresome  tirades1 your colourless love1
 fit only for collegians8 ,you promised 
to  give us your memoirs1 and we        
supposed that you had something of      
importance and interest to tell us4 ,are
 these1 then1 your memoirs8 and  do you 
really and seriously think that such    
things as this are of the  least        
interest to anybody8    ,listen1 dear   
reader4 ,you have a thousand good       
reasons to think so1 after  your mode of
 viewing things2 but ,i have quite as   
many on my side1 as ,i  will now prove  
to you4 ,but first let me tell you a    

little story4 ,there  was once a parrot 
trained to put together certain words   
and make a  little speech1 almost as if 
it was his own4 ,one day the servant    
7who was  new to the house where the    
parrot was1 and had never seen such a   
bird  before7 was struck with           
astonishment at hearing him1 and was so 
delighted that he stretched out his hand
 to touch him4 ,as he did this1  the    
bold and loquacious bird opened his beak
 and said1 ,what do you  want8 ,the     
astonished servant at once withdrew his 
hand1 and1 lifting  his cap1 answered1  
,excuse me1 sir1 but ,i took you for a  
beast6    ,sidenote3 ,,am ,,arrested    
,,and ,,sent ,,to ,,prison4    ,i find  
myself now in the opposite case1 and say
 to you1 ,excuse me1 ,i  took you for a 
man--that is to say1 ,i imagined that   
you sympathised  with me1 and even      
appreciated a man who promises to tell  
the truth1 and  to narrate things just  
as they really were and are2 and this ,i
 am doing1  and mean to do to the end1  

without caring who likes great effects  
of  light and shade1 fearful shadows1   
and mere inventions1 more or less       
romantic4 ,if you don't like my way of  
doing this1 you know very well  what to 
do--shut the book and lay it aside1 or  
skip what bores you1 and  perhaps you   
may find here and there something which 
pleases you4 ,but ,i  wish to give you  
fair warning1 that these memoirs refer  
to and describe  in part that very love 
which1 though it may seem to you        
perfectly  colourless1 was none the less
 living1 deep1 and holy1 and that       
retained  its warmth and vividness of   
light for forty years1 until she who was
 its  object disappeared from this      
earth1 leaving in my heart the memory of
  her rare virtues1 a love which is ever
 alive1 and the hope that ,i may  again 
see her4    ,and now again ,i take up   
the thread of my narrative4 ,truly1 when
 ,i said  to ,regina that ,i should     
return the next day to speak with her1  
,i counted  without my host1 as the     

saying goes4 ,the next day ,i found     
myself in  quod--for but a short time1  
if you please1 but still in prison for  
fourteen hours from morning to evening4 
,but ,i was very well off there1  as ,i 
shall now explain4    ,the morning      
after1 on ,monday--,i was at my post1   
the first bench in  ,sani's shop--a     
person1 after walking for some time up  
and down before  the shop windows1 came 
in and said1 ,be so kind as to come with
 me to  the ,commissary of ,santo       
,spirito1 and---- ,do not be alarmed2 it
 is  nothing4 ,the ,signor ,commissario 
wishes to learn from you something about
  the disturbance that occurred         
yesterday at ,san ,niccol after the     
procession4    ,sidenote3 ,,examination 
,,by ,,the ,,commissario4    ,but ,i--be
 assured----    ,don't stop to deny     
anything4 ,the ,signor ,commissario     
knows all4 ,your  name is ,giovanni     
,dupr4 ,you live in ,via del ,gelsomino1
 which is  precisely in our quarter2 and
 ,i did not go to look for you at your  

house1 in order not to disturb the      
family4 ,but ,i can assure you that it  
is a matter of no importance--perhaps a 
scolding1 but nothing more4    ,i       
resigned myself1 and went with him4     
,this person was not absolutely a       
sbirro1 but something of that kind2 and 
out of a sense of delicacy1  and        
divining my thoughts1 he said to me--   
,go on before me4 ,you know the way4 ,i 
will keep behind you in the  distance1  
and no one will perceive that we are    
together4    ,this ,i did1 and arriving 
at the ,commissariato1 was immediately  
introduced to the ,commissario4 ,the    
,commissario was in those days a sort   
of justice of the peace1 who possessed  
certain attributes and powers1 by  which
 he was enabled to adjudge by himself   
certain causes1 and to punish  by one   
day's imprisonment in the ,commissariato
 itself4 ,if the affair  after the      
interrogatory required a longer         
punishment1 the accused party  was      
conducted to the ,bargello4    ,the     

interrogatory then took place2 and after
 severely blaming me for my  conduct1 he
 told me that the matter in itself was  
very grave1 both on  account of the     
assault and the injuries done by me to  
these persons1 and  also of the tumult  
which had been occasioned on a fte which
 was not  only public but sacred1 and   
that therefore it was beyond his power  
to  deal with such an offence4 ,i felt  
myself grow cold1 and had scarcely      
breath to speak1 so completely had the  
idea of being sent to the  ,bargello    
overwhelmed me4 ,but the good magistrate
 hastened to add1  ,however1 do not     
fear4 ,the single deposition of only one
 of the  corrisanti is not in itself    
sufficient1 and therefore it may be     
assumed that the provocation came from  
their side1 and that you acted in       
legitimate self-defence4 ,but as there  
was disorder1 and injuries were         
received1 you must be content to pass   
the day shut up in one of our  cells4   
,thus saying1 he rang his bell1 and said

 to a sbirro who  appeared at the door1 
,conduct this gentleman out1 and lock   
him up2 and  as ,i went out he added1   
,another time be cautious1 and remember 
that you  might fall into the hands of  
some one whose name is not entered here2
  and he laid his hand upon a large book
 which he had on the table4 ,i  bowed1  
went out1 and the sbirro opened a door  
in the court of the  ,commissariato1    
made a gesture to me to enter1 and shut 
me in4    ,sidenote3 ,,my ,,prison      
,,walls4    ,the room in which ,i found 
myself was tolerably large1 with a fair 
amount  of light1 which came in from a  
high iron-barred window4 ,in one corner 
was a heap of charcoal2 and from this1  
perhaps1 the room had received  the name
 of the ,carbonaia4 ,the walls were     
dirty1 and covered with  obscene        
inscriptions4 ,there was a bench to sit 
upon1 a closet1 and  nothing else4 ,i   
remained standing and looking about1 but
 ,i saw nothing4  ,my thoughts were     
wandering sadly and confusedly from one 

thing to  another1 and fixed themselves 
with fear and sorrow upon my mother and 
,marina1 who1 in the state in which ,i  
found myself1 seemed to me more  than   
ever dear and worthy of honour4 ,i      
thought of their grief1 and felt  a     
shudder of emotion come over me4 ,but   
the assurance that ,i should soon  be   
free1 and should not pass the night     
there1 strengthened me and gave  me     
courage1 and ,i walked up and down the  
room humming to myself4 ,then1  not     
knowing what to do1 and how to occupy   
the time1 which is always so  long and  
tedious when one has nothing to do1 ,i  
caught sight of the  charcoal1 and my   
spirits rose1 and ,i said1 ,now ,i have 
nothing to fear1  for here is an        
occupation which will last me as long as
 there is light2  and ,i began to draw  
upon the wall a composition of figures  
almost as  large as life1 the subject of
 which was the death of ,ferruccio4     
,this was  a composition which ,i had   
seen at about that time in the          

exhibition of  the ,academy of ,fine    
,arts1 in a picture which had struck my 
fancy4 ,it  represented ,ferruccio lying
 on the ground mortally wounded1 and    
wrapped  in the flag of the ,commune4   
,with a fierce and scornful look he     
seemed to  be saying to ,maramaldo1 who 
was giving orders to finish killing him1
  ,you kill a dead man4 ,the author of  
this picture was the painter  ,bertoli1 
a young man of great promise1 and who   
unhappily died not long  afterwards in  
the insane asylum4 ,the drawing that ,i 
made upon the wall  was a reminiscence  
of that composition1 and there was      
nothing of mine in  it beyond an effort 
of memory4    ,sidenote3 ,,drawing ,,on 
,,prison ,,walls4    ,my poor mother1   
having been informed by the people of   
the shop1 came to  the ,commissario1 in 
the hope of obtaining my liberation1 but
 she could  not even obtain permission  
to see me4 ,the only thing allowed to   
her was  permission to bring me my      
dinner--that is1 to give it to some one 

to  bring in to me1 all but the wine2   
and this she did4 ,oh1 my sweet mother1 
may ,god grant thee the reward of thy   
love6    ,in the meantime the evening   
drew nigh2 the walls were covered with  
my  poor drawings1 and my hands and face
 and handkerchief were all black4 ,i    
would willingly have remained in prison 
till another day in order to  finish a  
little less badly the ,ferruccio2 but to
 stay there for long  hours in the dark1
 and with nothing to do1 so irritated   
and disquieted  me1 that ,i began to cry
 out1 and beat on the door1 asking for a
 light at  my own expense4 ,but no one  
heeded me2 and as ,i continued to drum  
loudly  on the door1 and had even taken 
the bench to hammer with1 a voice       
different from the others called out to 
me1 ,sir1 for your own good ,i  pray you
 to stop4 ,the rules forbid lights2 and 
if you go on in this way1  ,i promise   
you that you shall sleep to-night in the
 ,bargello4 ,never did  so short a      
speech produce the desired effect like  

this4 ,i hastened to  answer that ,i    
would be absolutely quiet4 ,i put back  
my bench in its  place1 and seated      
myself upon it1 in the attitude perhaps 
of ,marius  sitting on the ruins of     
,carthage2 and there ,i remained until  
eleven  o'clock at night4 ,the door was 
then opened1 and ,i was told to go to   
the  ,signor ,commissario to thank him4 
,this ,i did1 and he repeated to me the 
sermon of the morning1 and added that ,i
 owed to him the mildness of my         
sentence4 ,i renewed my thanks to him1  
and ran home1 where ,i found my  mother 
and father awaiting me--he with a severe
 face1 and she with tears  in her eyes4 
,sidenote3 ,,release ,,from ,,prison4   
,the day after1 ,i went to the house of 
,marina--for ,i invented some sort  of  
lie to explain why ,i had not come the  
day before1 as ,i had  promised--and    
taking aside ,regina 7as ,marina had    
established a school in  the house71 ,i 
expressed to her my desire to be married
 as soon as  possible4 ,it was rather   

soon1 ,i confess2 but for me there was  
no other  safety4 ,with her--with my    
good ,marina--,i felt that ,i should cut
 short  the too excited kind of life ,i 
was then leading1 and which carried me  
into company and into gambling1 and down
 that decline which leads every  one    
knows where4 ,that very evening ,i      
returned and insisted on  acquainting   
the dear girl with my determination1 at 
which she showed  herself modestly      
happy4 ,the true affection that ,i felt 
for that good  creature1 and the solemn 
pledge that ,i then took1 put an        
absolute end to  the thoughtless life   
which ,i had been leading4 ,stronger    
than ever came  back to me my love for  
study1 and ,i began to turn over in my  
mind how to  occupy myself in marble    
work1 even though it should be as a     
simple  workman4 ,at that time ,i made  
the acquaintance of ,signor ,luigi      
,magi1 who  was in the ,studio ,ricci1  
in ,via ,s4 ,leopoldo1 now ,via ,cavour1
 and ,i  opened my mind to him1 and he  

did not dissuade me from my purpose4    
,but  he advised me first to learn how  
to draw well and to model1 and after    
going through a certain course of these 
studies1 then to attempt to work  in    
marble4 ,he offered to procure for me   
copies to draw from2 and then1  as he   
intended to set up a studio for himself1
 he offered to give me  lessons in      
modelling in clay4 ,this being agreed   
upon1 ,i returned home  happy in the    
hope of carrying out this plan4 ,but the
 many little things  that ,i had to     
think of1 and not the least of which was
 to save all the  time ,i could in order
 to provide for the unusual expenses of 
my  marriage1 upset entirely for several
 months this ambitious project4         
,sidenote3 ,,little ,,economies4    ,the
 ideas of wise economy which have up to 
the present time always  accompanied me1
 ,i owe to my most excellent ,marina4   
,one day she said to  me1 ,you make four
 pauls a-day1 and two you spend on the  
house4 ,what  do you do with the other  

two8    ,i dress1 buy cigars1 and ,i    
don't know what else4    ,see1 she      
answered1 on your dress it is evident   
that you don't spend  much2 your cigars 
are a small matter2 so it seems to me   
that you might  put a part aside to     
supply what we most need4    ,sidenote3 
,,marina--,,and ,a ,,pot ,,of ,,verbena4
    ,the fact is1 that ,i cannot keep   
the money4    ,if you like1 ,i will keep
 it for you4    ,i accepted with        
pleasure1 and every week brought her the
 surplus2 and ,i  strove that it should 
not be small1 for she knew pretty well  
what ,i had  over4 ,at the end of a few 
weeks ,i found that ,i had a package of 
six or  eight beautiful shirts with     
plaited cuffs1 such as ,i had always    
worn  ever since ,i was a boy4 ,an      
intelligent economy saves us from need1 
and  even in narrow circumstances makes 
life easy4 ,i owe to this wise woman    
the exact and judicious regulation of my
 family1 as well in the first  years of 
our marriage--when we were very much    

restricted in means--as in  those which 
came after4    ,my eagerness to see her 
every evening1 my exactness in carrying 
her all  my savings1 and the respect    
which ,i showed her by my words and     
acts1  made me dearer to her eyes than  
,i ever was before4 ,one evening we were
  standing at the window of our little  
parlour1 which overlooked a garden      
which was not ours4 ,on its ledge were  
some pots of flowers reaching out  over 
the windows1 and among the flowers was a
 plant of verbena1 which  she liked     
above all things4 ,i talked to her of my
 studies1 of my hopes1  of the happiness
 ,i felt in being near her2 and all the 
time ,i was so  close to her1 that our  
two breathings were mingled together4   
,she was silent1 her face and eyes      
lifted to the starry heavens4 ,the      
perfume of the flowers1 the silence of  
the evening1 and her sweet and  chaste  
ecstasy so touched me1 that1 impelled by
 an irresistible force1 ,i  reached my  
lips towards hers4 ,my movement was     

instantaneous1 but ,i  failed to carry  
out my purpose2 she turned away her     
face1 and my lips  only brushed against 
a lock of her hair1 and then she        
immediately moved  away and seated      
herself beside her mother4 ,after forty 
years this comes  back to me as if it   
had just happened4 ,her face had an     
expression  neither of displeasure nor  
of joy2 but a certain somewhat of sorrow
 was  there1 which seemed an answer to  
all that ,i had been saying4 ,when she  
perceived that ,i was serious and a     
little mortified1 she said with calm    
benignity--    ,sidenote3 ,,my          
,,marriage4    ,do you like verbena8    
,oh yes2 ,i like it so much4    ,then   
quickly rising1 she cut off a sprig1 put
 it in the buttonhole of my  coat1 and  
said--    ,there1 that looks well6    ,i
 took my leave1 and on going away said  
to her addio1 and not a  rivederla4     
,the #gth of ,december #ahcf1 on the    
,vigil of the ,immaculate ,conception of
  the ,virgin ,mary1 ,i married my good 

,marina in the ,church of ,st ,ambrogio4
  ,this was1 in truth1 the great event  
of my life1 and that which exercised    
the most salutary influence over my     
studies1 over my peace1 and over the    
prosperity and morality of my family4   
,we were married in the evening1  not   
only to screen ourselves from the       
curious1 but also because our joy  was  
as secret as it was great4 ,our         
witnesses were ,luigi ,sani1 son of my  
chief--he for whom 7as ,i hope my reader
 has not forgotten7 ,i used when a  boy 
to prepare his clay--and ,bartolomeo    
,bianciardi1 who was a workman in  the  
shop of ,sani4 ,at our modest supper1   
besides the witnesses1 were my  father  
and mother4    ,my new existence being  
thus assured1 ,i began to think         
seriously how to  carry out and give    
real form to the dream of all my life1  
which resolved  itself into this--to be 
a sculptor4 ,my young wife was timid1   
and  sought to persuade me that ,i was  
very well as ,i was4 ,my father openly  

blamed me1 and kept repeating in his    
beloved ,latin1 ,multi sunt vocati      
pauci vero electi 7,many are called but 
few chosen74 ,this ,i knew as  well as  
he2 but he referred it to my desire to  
be an artist1 and my  ambition did not  
reach further than merely to be a       
workman in marble4 ,my  mother listened 
to me kindly1 and half sympathised with 
me in my bold  hope of becoming a       
workman in some sculptor's studio4 ,to  
my dear wife  7for she above all others 
was nearest my heart1 and on her account
 it  behoved me to take care what ,i was
 doing7 ,i kept repeating--             
,sidenote3 ,,copying ,,designs ,,and    
,,drawings4    ,my good ,marina1 listen4
 ,i risk nothing4 ,i do not lose my     
skill as a  wood-carver1 and if ,i only 
study sculpture in the off-hours of my  
work1  this very study may be useful to 
me as a carver2 and if ,i succeed in    
becoming a sculptor1 ,i shall be able to
 earn more1 and acquire  reputation1 and
 enable you to live well and to give up 

your trade4 ,say1  would not this be a  
good thing8    ,and she would look at me
 sadly1 and gently smiling would say--  
,but we are very well off as we are4    
,in the meantime1 in view of an offer of
 ,signor ,magi to give me some  drawings
 and designs to copy1 ,i went1 according
 to our agreement1 to his  studio in the
 ,licei di ,candeli1 and begged him to  
fulfil his promise2  and a few days     
after he gave me some heads in light and
 dark from the  ,transfiguration of     
,raphael1 which ,i copied1 working at   
them early in  the morning and in the   
evenings4 ,having finished these rapidly
 and to  his satisfaction1 he gave me   
plate by plate the whole course of      
anatomy  of ,professor ,sabatelli1 done 
in red chalk4 ,in this task ,i was so   
interested that ,i worked till very late
 at night1 until ,i had attained  such  
facility and knowledge1 that after      
sketching in the general  outlines1 ,i  
at once finished them without requiring 
to make a rough  copy4 ,magi was        

surprised that ,i was able so easily to 
turn off every day  a copy of one of    
these drawings of legs1 arms1 and torsi1
 which were  of life size4 ,afterwards  
he gave me a number of the so-called    
,accademie1 which are nude studies of   
the entire figure--and these1  too1 ,i  
drew rapidly and with increasing taste2 
and so enamoured was ,i of  them1 that  
,i afterwards repeated them at the shop 
upon any fragment of  paper or wood1    
drawing them in all their attitudes from
 memory4    ,sidenote3 ,,anxieties ,,and
 ,,struggles4    ,i made1 as ,i was well
 aware1 very rapid progress1 and ,i     
longed for the  moment when the master  
should say to me that it was time to    
begin to  model4 ,in fact1 he soon      
suggested this4 ,however1 as it was     
necessary to  have a certain apparatus  
and help1 ,i could only begin to model  
in the  studio of ,magi4 ,it was        
therefore arranged that ,i should go to 
him during  all the off-hours of my     
work2 and this ,i did4 ,i will not stop 

to note  the number of hands1 feet1 and 
heads that he made me copy2 ,i will only
  say that my life was most exhausting1 
and my wife1 poor dear1 had to  suffer  
for it4 ,she had to wait for dinner1 and
 ,i was often so late1 that  ,i had only
 time to swallow a little soup and a    
piece of bread1 and then  to rush back  
to the shop4    ,when ,i remember this  
life of mine1 with its painful anxieties
 and  struggles1 it makes me angry to   
see some of the youths of to-day1 with  
every opportunity and all their time1   
and without a care in the world1  either
 for their family or any thing or       
person1 who rot in idleness1  assume    
airs of scorn for others1 even for their
 masters1 and then swear  out against   
adverse fortune1 and deplore their      
genius crushed and  unrecognised1 and   
similar insipidities4 ,my two hours of  
rest during the  day1 which were from   
one to three o'clock1 were thus         
occupied3 one hour  was given to study1 
and the other was but just sufficient to

 enable me  to go from my shop in the   
,piazza di ,san ,biagio to the ,liceo di
 ,candeli1  and there take my dinner1   
and then return to the shop4 ,i was     
punctual  too1 for ,i was determined to 
do my duty1 and to keep my promise to my
  wife never to allow my study of       
sculpture to interfere with my regular  
occupation4    ,sidenote3 ,a            
,,home-,,picture4    ,it was indeed a   
life full of agitations1 anxieties1     
fears1 and  privations1 but animated    
with what joyous hopes6 ,every evening  
when ,i  came back from my work1 ,i     
devoted myself at home to making        
anatomical  drawings from casts1 while  
my wife did her ironing in the same     
room2 and  ,i drew until the hour of    
supper came4 ,it was a pure sweet       
pleasure to me  to see that strong and  
lively creature coming and going with   
her  flat-irons from the fireplace to   
the table1 and gaily ironing1 and       
singing        ,muskets and broadswords2
 fire--fire--poum6#d    as she smoothed 

and beat with the flat-iron on the      
linen1 while her  mother sat silently   
spinning in the corner4 ,truly that     
blessed woman was  right when she said1 
,we are so happy as we are--for one of  
the purest  joys that cheers my present 
life is the memory of those days4 ,no   
joy is  purer than that which comes from
 the memory of that past time of work1  
of study1 and of domestic peace4 ,those 
days of narrow means and  agitations now
 shine upon me with a serene and lovely 
light2 and ,i bless  the ,lord1 who     
softens by ,his grace the bitterness of 
poverty and the  harshness of fatigue1  
and so preserves this sweetness of      
remembrance in  the heart1 that neither 
time nor fortune has the power to       
extinguish it1  or even to diminish it4 
#d ,schioppi1 sciabola2 fuoco--puhm6    
,in the opinion of my master1 ,signor   
,magi1 ,i had arrived at that point in  
my studies that ,i could be permitted to
 make portraits from life4  ,accordingly
 he proposed that ,i should find some   

friend who had time and  patience to    
stand for me as a model4 ,i soon found  
one1 and his was the  first bust ,i     
modelled4 ,the likeness was good1 and   
,magi and the others  began to have a   
strong faith in my future4 ,encouraged  
by this trial from  life1 ,i determined 
to make a statuette of small dimensions4
 ,the subject  which was given to me by 
,magi was ,santa ,filomena standing with
 her head  and eyes turned to heaven1   
one hand on her breast and the other    
holding  a bunch of lilies1 while the   
anchor1 the sign of her martyrdom1 lay  
at  her feet4 ,the statuette was liked2 
and ,i pleased myself with executing  it
 in wood1 and finished it with great    
care of handling and delicacy of        
detail4 ,it was exhibited at the        
,accademia delle ,belle ,arti in #ahch2 
was  praised by distinguished artists1  
such as ,benvenuti and ,bartolini2 and  
the latter recalled it to me when1 some 
time afterwards1 ,i went to ask  for    
work in his studio1 and said--          

,sidenote3 ,,statuette ,,of ,,santa     
,,filomena4    ,believe me1 my dear sir1
 if ,i had any work to give you to do1  
,i would  give it with pleasure1 for ,i 
have seen that statuette of yours1 which
  shows that you have intelligence and  
love4    ,my ,santa ,filomena was       
liked--liked by artists and by those who
 were not  artists2 but no purchaser    
presented himself1 and ,i was anxious to
 sell  it1 not only for the sake of a   
little money1 which would have been very
  opportune1 but still more for the     
satisfaction of my amore proprio as  an 
artist4 ,but the purchaser did not come1
 and ,i was obliged to place my         
statuette in the magazine of antiquities
 of the ,brothers ,pacetti1 on the      
ground-floor of the ,borghese ,palace in
 the ,via del ,palagio4 ,it did not     
long remain here1 however4 ,it was      
frequented by many strangers1 who  found
 there a great number of things which   
were curious1 and some of  which were   
really beautiful4 ,in this magazine     

there were1 first of all1  old pictures 
of our ,florentine school3 whence they  
had been excavated ,i  know not1 but the
 exportation of them out of the country 
was not as  difficult as it now is4     
,there were also terre cotte of the     
school of  ,luca della ,robbia1         
statuettes in bronze1 marble busts of   
the ,roman  school1 to ornament halls or
 staircases in palaces2 chests of ebony 
inlaid with pietra dura1 ivory1         
tortoise-shell1 c4 ,specially rich was  
it in ,venetian glass1 antique plates1  
enamels1 laces1 c41 c4 ,there1  among   
all these antiquities1 figured my ,santa
 ,filomena1 which seemed  more pure and 
white from contrast with all the chests 
of drawers1 and  stuffs1 and tapestries 
which formed its background4            
,sidenote3 ,,santa ,,filomena4    ,a    
,russian gentleman asked the price2 and 
it being stated to him1 without         
refusing to take it1 he made a strange  
condition of purchase4 ,he would  not   
have it a saint1 and in consequence he  

exacted that all the  attributes which  
belonged to ,santa ,filomena should be  
removed4 ,i took  great pains to make   
him see that this could not be done1 and
 that the  statuette would in so doing  
lose much of its artistic value4 ,if the
  lilies were taken from the hand1 it   
would be perfectly meaningless and      
idle1 and would injure the expression of
 the figure4 ,he seemed to a  certain   
extent persuaded1 but he still persisted
 that he would not have  it as a saint2 
and after thinking for a long time how  
he could change  the name1 and seeing   
that there was an anchor at her feet1 he
 said that  it might be called ,hope4 ,i
 remained between yes and no1 and only  
observed to him that ,hope ought to hold
 the anchor in her hand1 and not  leave 
it on the ground as if she had forgotten
 it4    ,no matter1 he answered1 ,i     
insist on calling it ,hope2 but the     
lilies  must be removed4    ,sidenote3  
,,christ ,,on ,,the ,,cross4    ,i      
answered that they would rather help the

 subject1 and it might be  called ,the  
,virgin1 ,hope4    ,oh6 c'est trs-bien1 
he replied4    ,there remained the crown
 of roses on her head1 but in regard to 
this  everything was easy4 ,roses are   
the symbol of joy1 and ,hope in the     
purity  of its aspirations is crowned   
with joy4 ,truly that day ,i was a more 
eloquent orator than artist4    ,the    
,russian1 quite content 7and ,i more    
than he71 counted me out the  price of  
the statuette in golden napoleons1 and  
before it was boxed up1  had inscribed  
on the base of the ,filomena these      
words--,la ,vera  ,speranza4    ,after  
this work1 ,magi advised me to begin to 
work in marble4 ,this cost  me little   
trouble1 practised as ,i was in carving 
wood1 which1 though it  is a softer     
material1 is more ungrateful and        
irresponsive4 ,after a few  weeks'      
practice1 ,i was able to execute some   
works1 and to assure myself  that       
henceforward1 whenever ,i wished1 ,i    
could go from one material to  the      

other4 ,remember1 however1 that ,i then 
did not even dream of becoming  an      
artist4 ,i only hoped to succeed as a   
workman in marble1 as ,i then was  in   
wood4 ,the idea of being an artist came 
to me afterwards1 slowly and  by        
degrees--the appetite growing1 as the   
saying is1 by eating2 or ,i  should     
rather say1 ,i was driven and drawn to  
it1 out of pique and  self-assertion    
7punto d'onore74 ,but let us proceed    
regularly4    ,about this time ,signor  
,sani received an order from certain    
nuns--,i do  not now remember whom--to  
make a ,christ upon the cross1 which was
 to be  of small size and executed in   
boxwood4 ,naturally ,sani thought of me1
 and  gave it to me to execute4 ,i set  
to work upon it with such love and such 
a desire to do well1 that ,i neglected  
nothing4 ,after making studies of  parts
 from life1 and pilfering here and      
there1 ,i succeeded in making an        
ensemble1 movement1 character1 and      
expression appropriate to the  subject1 

and this ,i executed with patience and  
intelligence4 ,but the  excellence of   
the work was superior to the importance 
of the commission4  ,let me explain     
myself4 ,the time it cost me1 and       
consequently the price ,i  was paid by  
my principal for my weeks of labour1 far
 exceeded that which  had been agreed   
upon by the persons giving the          
commission4 ,sani1 a  little grudgingly1
 but still feeling that it did honour to
 his shop1  showed himself half pleased 
and half annoyed2 and when other persons
  afterwards came to urge forward the   
work on which he was engaged for  them1 
and praised this ,christ of mine1 ,sani 
took all the praise to  himself as if it
 belonged to him4 ,nor was he to blame  
for this4 ,the  ,christ1 however1 on    
account of the difference of price1     
remained in his  shop shut up in his    
chest4 ,but as it had been somewhat     
noised about1  many came expressly to   
see it4 ,among these was the ,cavaliere 
,professore  ,giuseppe ,martelli1 who   

lately died1 and who having seen it1    
told ,sani  that he hoped to induce the 
,cavaliere ,priore ,emanuel ,fenzi to   
buy it4 ,he  was then putting in order  
the principal suite of rooms in the     
palace of  the ,via ,san ,gallo for the 
wedding of the ,cavaliere ,fenzi's      
eldest son1  ,orazio1 with the noble    
,lady ,emilia de' ,conte della          
,gherardesca1 and he  hoped to place    
this ,christ at the head of the bed of  
this young couple4  ,and this in fact   
happened4 ,the ,christ was seen and     
bought1 and ,i believe  that it is still
 in that house4 ,i saw it there myself  
when poor ,orazio1  who honoured me with
 his friendship1 was alive4             
,sidenote3 ,,the ,,christ ,,sold4    ,i 
shall again refer to this ,christ2 but  
for the present1 let us go on4 ,i  had a
 great desire to give up once for all   
this working in wood--not  because ,i   
thought that material less worthy than  
marble1 for the  excellence of a work   
depends upon the skill and knowledge of 

the artist1  and not upon the material  
which he has used4 ,very worthless      
statues have  been seen1 and still may  
be seen1 in beautiful marble1 and1 vice 
vers1 beautiful statues in simple terra 
cotta or wood4    ,sidenote3 ,,work ,,at
 ,,magi',s4    ,you will be noble if you
 are virtuous1 answered ,d',azeglio to  
his son1  when the latter asked him1    
with the ingenuousness of a child1 if   
their  family was noble4    ,let us then
 understand that the nobility of any one
 is founded upon his  deeds1 and the    
excellence of a work depends upon the   
work itself1 and  not upon the material4
 ,we shall return to this consideration 
hereafter2  now let us proceed4 ,i say  
that ,i wished to give up working in    
wood1  because it was my business at the
 shop to make all sorts of little       
things1 such as candlesticks1 cornices1 
masks1 c4 ,naturally it fell to  me to  
make them2 and not always--on the       
contrary1 very rarely--it  happened that
 ,i had a ,christ1 an angel1 or anything

 of that kind to  execute3 and on this  
account ,i was irritable and irascible  
7except when  ,i was at home7 with      
everybody1 and specially with myself4   
,at ,magi's ,i had as much work as ,i   
wished4 ,i had already finished for him 
two busts1--one of the ,grand ,duke in  
,roman drapery1 according to the  style 
then in vogue among the academic        
sculptors1 who dressed in ,roman  or    
,greek costume the portrait of their own
 uncle or godfather2 the other  of an   
old woman1 whom ,i did not know4 ,work  
enough ,i had2 but naturally ,i  wished 
to earn something by it1 and this was   
soon spoken of4 ,i  understand very well
 that the master has a kind of right to 
all the  profits of the first works of  
his pupil2 but with me this went on so  
long1 that at last he saw its           
impropriety2 and he proposed to engage  
me  to finish the group of ,charity     
which he had made for the ,chapel of the
  ,poggio ,imperiale1 as a substitute   
for that wonderful work of ,bartolini1  

which is still admired in the ,palatine 
,gallery4 ,but the proposition of  ,magi
 was in every way impossible to accept1 
as he only agreed to pay me  when the   
work was completed--that is to say1 ,i  
and my family were to go  for at least a
 year without anything to eat4          
,sidenote3 ,,death ,,of ,,my            
,,daughter--,,poem4    ,i tried here and
 there2 but ,i could not make a         
satisfactory arrangement1  and ,i had to
 resign myself to the making of         
candlesticks4 ,i had now  become a      
father4 ,my wife had given me a little  
girl1 whom ,i lost  afterwards when she 
was seven years old2 and as ,i have     
never made  mention of my dear angel1   
let me embellish the meagreness of my   
prose  with the charming verses of      
,giovanni ,battista ,niccolini1 who then
  honoured me with his friendship1 and  
which he wrote with his own hand  under 
the portrait of my little child4 ,they  
are as follows3--        ,few were the  
evils that ,life brought to thee1       

,dear little one1 ere thou from us wast 
torn1      ,even as a rosebud plucked in
 early morn4      ,tears thou hast left1
 and many a memory1      ,to those who  
gave thee birth1      ,but thou from    
,life's short dream on earth      ,hast 
waked the perfect bliss of heaven to    
see2      ,and thou art safe in port1   
and in the tempest we4        ,pochi a  
te della vita      ,furono i mali1 o    
pargoletta1 e mori      ,come rose ch'  
colta ai primi albri4      ,ognor       
memoria e pianto      ,al genitor sarai1
 bench per sempre      ,dal sogno della 
vita in ciel gia desta4      ,tu stai   
nel porto e noi siamo in tempesta4      
,,chapter ,v4         ,a ,,warning ,,to 
,,young ,,artists--,,professor          
,,cambi',s ,,propositions--,a           
,,financial ,,problem3 ,,to ,,increase  
,,gain ,,by ,,diminishing ,,the ,,means 
,,that ,,produce ,,it--,i ,,leave       
,,sani',s ,,shop ,,to ,,have ,,more     
,,time ,,and       ,,liberty ,,to       
,,study--,,an ,,imitation ,,is ,,not    

,,so ,,bad1 ,,but ,a                    
,,falsification ,,is ,,indeed ,,an      
,,ugly ,,thing--,,the ,,marchesa ,,poldi
 ,,and ,a       ,,casket1 ,,supposed    
,,to ,,be ,,an ,,antique--,,how ,a      
,,master ,,should ,,be--,,the           
,,death ,,of ,,my ,,mother1 ,,september 
#ahdj--,,opinion ,,of ,,the             
,,academy--,,the       ,,tipsy          
,,bacchante--,a ,,divided ,,vote--,,the 
,,cariatidi ,,of ,,the       ,,rossini  
,,theatre ,,at ,,leghorn4      ,let us  
consider for a moment the state of my   
mind at this time4 ,i felt  within me an
 unconquerable inclination for the study
 of sculpture2 and  even as a child1 ,i 
gave vent to my feeling as well as ,i   
was able4 ,as ,i  increased in years1   
the more this desire was repressed and  
opposed1  whether by my poverty or the  
aversion of my father1 the more it      
developed into a settled passion4 ,but  
after the progress ,i had made in  my   
studies gave me a right to hope1 and my 
masters had encouraged me1  and ,i had  

acquired some skill in working the      
marble1 no work was given  me to do4    
,nor was this all4 ,i was humiliated at 
last1 being told by a  workman to whom  
,i applied--who was the administrator of
 the studio of a  foreign artist--that  
there was nothing for me to do there1   
because the  work in that studio was so 
difficult as to be beyond my ability4 ,i
  swallowed this bitter mouthful1 but ,i
 did not despair4 ,not only did ,i  not 
despair1 but ,i determined1 by study and
 force of will1 to prove  that ,i was   
right and they were wrong4 ,add to this 
that ,i was not alone2  ,i had a wife   
and children4 ,but no matter4 ,since the
 first prophecies  that ,i never should 
be good for anything as a wood-carver   
had proved  false1 this also1 which was 
both a humiliation and an insult1 might 
prove to be untrue4 ,my poor wife saw   
that my mind was greatly disturbed1     
and1 with her sweetness1 strove to calm 
me by representing to me that we  were  
fairly well off and without troubles1   

and exhorted me to drive from  my head a
 thought which was rendering my life    
bitter to me4 ,these words1  dictated by
 love1 made me still more unhappy2 but  
dissimulating and  caressing her1 ,i    
told her that she was right4            
,sidenote3 ,,rivalship ,,and            
,,criticism4    ,one day1 in the studio 
of ,magi1 ,i and another young man were 
modelling  together a man's torso which 
had been cast from nature4 ,a friend of 
,magi1 a painter1 as he passed by us    
paused1 and after looking at our two    
copies1 said1 turning to my rival and   
patting him gently on the  shoulder1 ,i 
am delighted3 this is an artist6 ,then  
turning to me with  an expression of    
regret1 he said1 ,a rivederla4 ,my good 
reader1 do  you think that made me      
despair8 ,no1 by the ,lord6 ,i tell you 
rather that  these words were seared    
upon my brain as with a red-hot iron1   
and there  they still remain--and they  
did me a great deal of good4 ,the       
,professor  who spoke them 7yes1 he was 

a ,professor71 three years afterwards   
embraced me in the ,accademia delle     
,belle ,arti before my ,abel4 ,my       
rival8 ,my rival is perfectly sound in  
health1 and is fatter and more  vigorous
 than ,i am1 but he is not a sculptor4  
,so1 my dear young artist1  courage6 in 
the face of poverty1 and opposition1 and
 abuse1 and  contempt1 and even         
7remember this7 of blandishments and    
flatteries1  which are more destructive 
than even abuse and contempt4           
,sidenote3 ,,indications ,,of ,,genius4 
,but be careful to consider well what   
your vocation really is1 and do not     
allow yourself to be deluded by false   
appearances4 ,it is absolutely          
necessary that your calling should be   
imperious1 tenacious1 persistent2  that 
it should enter into all your thoughts2 
that it should give its  form and       
pressure to all your feelings2 that it  
should not abandon you  even in your    
sleep2 and that it should drive from    
your memory your hour  of dinner1 your  

appointments1 your ease1 your pleasures4
 ,if1 when you  take a walk in the      
country1 the hills and groves do not    
awaken in you in  the least the idea    
that it would be pleasant to own them2  
but1 instead  of this1 if you feel      
yourself enamoured by the beautiful     
harmony of  nature1 with its varied     
outlines1 and swelling bosoms1 and      
slopes sadly  illuminated by the setting
 sun1 and all seems to you an exquisite 
picture--then hope4 ,if at the theatre  
you see a drama represented1 and  you   
feel impelled to judge within yourself  
whether this or that  character is well 
played--whether the gestures1 the       
expression of face1  and the inflections
 of voice are such as properly belong to
 the  character1 and accord with the    
affections that move him1 or the        
passions  which agitate him--then hope4 
,if1 while you are walking along1 you   
see  the face of a beautiful woman1 and 
if it does not immediately awaken in    
you the idea of a statue with its name  

and expression1 but1 on the  contrary1  
you idly or improperly admire it--then  
fear4 ,if in reading of  a pathetic     
incident you feel your heart grow       
tender2 if the triumph of  pride and    
arrogance rouse your scorn--then hope4  
,and if you do not feel  your faculties 
debilitated by the long and thorny path 
of study1 but1 on  the contrary1        
tempered and strengthened every day by  
constant and  patient labour1 then      
hope--hope--hope4 ,if you have property1
 attend to  the management of it4 ,if   
you are poor1 learn some trade4 ,it is  
better  to be a good carpenter than a   
bad artist4    ,sidenote3 ,,triennial   
,,competition4    ,in my own case1 ,i   
armed myself with stout patience1 and   
pursued my  ordinary work of            
wood-carving2 and when ,i returned home 
in the evening1  ,i applied myself to   
study1 and1 in the simple and frank     
conversation of  my wife1 felt a calm   
come over my agitated mind2 and my      
powers1  enervated by ungrateful labour1

 were thus restored4 ,but the           
opportunity  which was to launch me once
 and for ever in art was already near1  
and ,i  seized upon it with all my      
strength1 hope1 and love4 ,many and sad 
were  the first steps against opposition
 and division2 but ,i pushed on1 and ,i 
have never stopped since4    ,professor 
,ulisse ,cambi1 who had seen me         
modelling in ,magi's studio1 and  who   
had his own studio close by1 now began  
to talk to me about the  triennial      
competition in sculpture1 which took    
place precisely in this  year1 and he   
proposed that ,i should go in for it1   
and hoped that ,i  should succeed2 but  
even if ,i did not1 he said1 at all     
events the study  incident to it would  
be no loss to me4 ,flattered by this    
suggestion1  which showed that he had   
some confidence in me1 ,i replied that  
,i would  think of it1 and would speak  
about it to ,magi1 who might possibly   
lend  me one of his rooms which he did  
not use1 and also give me his           

assistance4 ,i spoke to him on the      
subject1 but ,i did not find him at all 
disposed to favour the project4 ,in the 
first place1 he told me that he  could  
not give me a room2 then that he did not
 think that ,i had gone on  sufficiently
 far in my studies to be able to attempt
 such a competition2  and finally1 that 
he would not undertake to direct my     
work4 ,this answer  having been repeated
 to ,cambi1 he told me that he was      
convinced that ,i  should succeed1 and  
that if ,magi would neither give me a   
room nor  superintend my work1 he would 
do both--and this he did4    ,sidenote3 
,,model ,,of ,,judgment ,,of ,,paris4   
,the subject of the basso-relievo was   
,the ,judgment of ,paris1 and  required 
five figures--,paris1 ,venus1 ,minerva1 
,juno1 and ,mercury4 ,i made  a sketch2 
but it did not please ,cambi1 and taking
 a piece of paper1 he  sketched with a  
pen a new composition1 saying1 ,that1 ,i
 think1 will do  very well4 ,i then made
 a new sketch founded upon this by      

,cambi4 ,some  one will now say1 ,this  
is not right2 you ought to have worked  
out an  idea of your own1 and not one of
 your master's4 ,agreed2 but these      
considerations will come afterwards4    
,for the present1 let us go on4    ,in  
the meantime it was necessary to come to
 a decision1 and to take into           
consideration that the work required    
much time1 and could not be  completed  
in my off-hours1 as ,i had hitherto done
 with my other studies1  and also that  
money would be required to pay the      
models2 so that1 as it  would be        
necessary to give less time to my       
ordinary work1 ,i should earn  less1    
while ,i should have need of more money 
in order to pay the models4  ,the       
problem was a difficult one1 and at     
first sight not easily solved4  ,the    
reader will remember the ,brothers      
,pacetti1 in whose shop ,i had sold  the
 ,santa ,filomena4 ,one of these1       
,tonino1 had often said to me that if ,i
  would work for them they would give me

 anything to do that ,i might           
prefer--whether cornices rich with      
figures and putti and arabesques1  or   
coffers and chests all'antica1 or       
whatever ,i liked with figures1  with   
the prices agreed upon1 and liberty to  
work when and how ,i liked4  ,the offer 
was excellent1 as you see2 but it       
involved leaving my old  master ,sani1  
and ,i was affectionately attached to   
him1 and he and all in  the shop were   
attached to me2 and on this account ,i  
felt repugnance to  leaving the place   
and the persons who had helped me on    
when ,i was a  child4 ,so1 thanking     
,pacetti1 ,i repeatedly refused his     
offer4 ,but now it  was necessary to    
come to a decision between two          
alternatives--either to  abandon the    
competition and remain in the shop1 or  
to abandon the shop  and accept the     
offer of the ,brothers ,pacetti4 ,i     
spoke of this to my good  ,marina1 who  
at first did not look upon it at all    
favourably1 fearing  that if ,i left the

 shop1 which had always given me work1  
,i should find  myself left in the lurch
 by the other1 in spite of all the fine 
promises  of gain and liberty and the   
like4 ,but at last1 seeing that ,i was  
decided1 she contented herself with     
saying1 ,do as you think best4 ,o       
blessed woman1 may ,god reward thee6    
,sidenote3 ,,modelling ,,bas-,,relief   
,,for ,,competition4    ,when ,i stated 
to old ,sani my determination to leave  
his shop1 angry as a  hornet1 he said1  
,do as you like1 and spoke to me no more
 the whole  day4 ,the next day1 however1
 more softened1 but still severe1 he    
asked me  the reason of this strange    
resolution1 and ,i told him4 ,then he   
proposed  an increase of salary and a   
diminution of work1 and at last agreed  
7,i  must do justice to this good man7  
to allow me to have all the hours  which
 were necessary for the competition4    
,but ,i had already made my  contract   
with ,pacetti1 had decided upon a work  
after my own choice1  arranged the room 

given me by ,pacetti1 and which was the 
,hospital for  ,horses in the old stable
 of the ,palazzo ,borghese1 and ,i could
 not  withdraw from it4    ,i began to  
model the basso-relievo for the         
competition in the studio  ,cambi1 and  
my intaglio work ,i did in the little   
studio or stable of  the ,palazzo       
,borghese4 ,the work that ,i had        
undertaken for ,pacetti was  curious4   
,it had every recommendation except that
 of honesty4 ,let me  explain4 ,there   
was at this time a great passion among  
strangers for  antique objects3 great   
chests1 cornices1 and coffers1 provided 
they were  old1 were sought for and     
purchased2 but modern works1 though of  
incontestable merit1 no one cared for1  
and they brought very low prices4  ,it  
came into the head either of ,pacetti or
 myself--,i do not remember  which--to  
make something in imitation of the      
antique 7and so far it was  all right71 
and to sell it for antique1 and here was
 the maggot4    ,sidenote3 ,i ,,carve ,a

 ,,seicento ,,coffer4    ,it was        
settled1 then1 that ,i should make a    
coffer or chest in the  beautiful and   
rich style of the ,seicento--rectangular
 of form and not  high4 ,the cover was  
slightly pointed1 with various arabesque
 ornaments1  and in the centre of this  
cover in the front ,i carved a ,medusa  
crying  out loudly2 and by looking at   
myself in the mirror1 ,i succeeded in   
giving a good deal of truth to the sad  
expression of this head--indeed  the    
muscles of the face and the eyes had    
such a truth of expression that  ,i     
would not promise to do as well again   
even now4 ,this is the portion of  the  
work which is really original2 all the  
divisions in panels1 and the  external  
faces1 were an absolute counterfeit     
representation of the  ornaments on the 
bookshelves in the ,libreria            
,laurenziana1 which were  carved by     
,tasso the carver1 the friend of        
,benvenuto ,cellini1 and1 as  some say1 
were designed by ,cellini himself4      

,every precaution was  taken--the wood  
was antique but not worm-eaten1 so that 
,i could carve  with delicacy all the   
ornaments1 dragons1 and chimer2 and when
 it was  finished1 here and there a     
worm-hole was counterfeited and filled  
up  with wax1 but so as to be visible4  
,the hinges and ironwork were also      
imitations of the antique1 which were   
first oxidated and then  repolished4 ,in
 a word1 it was a veritable trap1 and ,i
 give an account of  it for the sake of 
the truth2 and ,i hope that the first   
statement of  this falsification does   
not come from me4 ,but however this may 
be1 we  laughed at it1 and it amused me 
then1 though now it displeases me4      
,sidenote3 ,,coffer ,,is ,,attributed   
,,to ,,cellini4    ,this coffer was seen
 by many persons1 some of whom asked the
 price2 but  ,pacetti set a high value  
upon it1 and he had spread about some   
sort of  story that it was a work of    
,benvenuto ,cellini's4 ,finally1 after  
some  time1 the ,marchioness ,poldi of  

,milan1 who had gone to ,florence to    
urge  ,bartolini to finish the famous   
group of ,astyanax which he was making  
for  her1 saw this coffer1 liked it1 and
 took it for an antique2 but in  regard 
to the excellence of the work1 and above
 all the name of the  artist to whom it 
was sought to attribute it1 she         
determined to consult  ,bartolini       
himself1 and if his judgment was        
favourable1 to buy it for the  price    
that was asked1 but which naturally was 
not what ,i had been paid4  ,bartolini  
decided that it was one of the finest   
works of ,tasso the  intagliatore1 made 
after the designs of ,benvenuto         
,cellini2 and the  ,marchioness ,poldi  
then bought the coffer1 and carried it  
to ,milan4    ,four years later1 ,i     
finished my ,abel and ,cain4 ,i had made
 a name1  which had been rendered still 
more attractive by the curious story of 
my  origin2 for all of a sudden1 while  
nobody knew who ,i was1 ,i seemed to be 
an artist who had been born one morning 

and grown up before night4 ,the  only   
thing that was reported about me was1   
that ,i had never studied1 and  that ,i 
had suddenly leaped from the bench of   
the intagliatore on to  that of the     
sculptor4 ,the reader who has thus far  
followed me1 and who  will continue with
 me up to the completion of my ,abel and
 ,cain1 will  see with what heedlessness
 these reports were propagated4 ,let us 
go on4  ,the ,marchioness ,poldi came to
 my studio1 and having heard the story  
of  my life1 which was in the hands of  
all1 and was written in that easy1      
attractive1 and poetic style of which   
,farini is master1 told me that  she    
possessed a magnificent work in intaglio
 by the famous  intagliatore ,tasso1 and
 said that this work was imagined and   
executed  with such grace and excellence
 that it might truly be called a work of
  art1 and she added that these were the
 very words of ,bartolini4    ,sidenote3
 ,,in ,,the ,,studio ,,cambi4    ,the   
reader may imagine whether ,i was       

flattered by this2 and in  consequence  
of this praise1 as well as to pluck out 
this thorn from my  heart by a          
confession of my fault1 ,i said1 ,i beg 
your pardon1 ,signora  ,marchesa1 but   
that work was made by me4    ,the       
,marchioness looked at me with a kind of
 wonder1 and then said1 ,no             
matter--nay1 all the better4    ,i      
begged her not to tell ,bartolini4      
,but to return to the point where ,i    
left off to make this digression  about 
the ,marchioness ,poldi4 ,let me say1   
that if in my studio ,i enjoyed         
complete liberty of imagination and     
action1 and if my works met with  such  
success and were so praised as to give  
me consolation1 matters did  not go on  
so well in the studio ,cambi1 where ,i  
was modelling for the  competition4     
,scarcely had ,i put my foot into that  
studio when ,i became  timid1           
embarrassed1 and almost fearful2 for the
 ,professor would not  leave me free to 
see and execute from the life as ,i saw 

it4 ,i do not say  that he was wrong2 ,i
 only say1 that thus feeling my hands   
bound to the  will of another1 rendered 
me hesitating and discontented4 ,i      
should have  preferred a studio of my   
own1 and after ,i had sketched out as   
well as ,i  could my own ideas1 then to 
have my master come in to correct me4   
,but  there he was always2 and he was   
not content with correcting me by words 
alone1 but he would take the modelling  
tool and go on and model what ,i  ought 
to have modelled myself4 ,my work might 
be done with difficulty2  but if ,i     
could have done it all myself1 as ,i    
wished1 ,i should have been  much       
happier1 and my hand would have been    
better seen in it--the hand of  a youth 
without skill indeed1 but still desirous
 to do and to learn2 and  ,i should also
 have been spared the annoyance of      
hearing that the work  was not done by  
me1 but by ,professor ,cambi4 ,now      
,cambi is a very dear  friend of mine1  
and ,i do not mean in the least to      

reprove him for what  he did2 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 pupils4             
,sidenote3 ,,laws ,,of ,,composition    
,,and ,,grouping4    ,every historical  
fact1 in its manifestations of time1    
place1  circumstances1 and character1   
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 another4 ,the  impression 
each receives depends upon his          
character1 intelligence1  temperament1  
and education4 ,this being admitted1 it 
is in the highest  degree difficult to  
assert with assurance1 ,i understand and
 can express  the fact better than you4 
,when certain essential points are      
established1 such as the age and        
character of the personages1 and the    
costumes and style of dress1 all the    

rest depends upon the taste of the      
artist1 and his manner of viewing and   
feeling it4 ,as to the composition  and 
grouping of the figures1 in regard to   
which dogmatic statements are  so often 
laid down1 this should be a free field  
to the artist in which  he may move     
about as he will4 ,the harmony of lines1
 the balance of  parts1 the equality of 
spaces1 are all very fine words2 but    
above all  and before all1 and as the   
base of all1 there should be clear      
expression  of the fact1 truth of       
action1 and living beauty4 ,it is very  
true that  sometimes1 and indeed very   
often1 the young pupil is without much  
study  or much knowledge1 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 represent4 ,then indeed   
the master should interpose4 ,but how8  
,not by taking the tool himself and     
saying1 ,you should do thus and  thus2  
but rather by putting his pupil on the  

right road1 and making him  clearly     
appreciate the story he is trying to    
represent1 and showing him  that this or
 that figure ought to have the dress and
 the character  appropriate to it1 and  
to point out the means by which he may  
attain  this result4 ,if after this     
teaching the youth is dull1 he should be
  counselled not to go on2 but if1 on   
the contrary1 he improves his  sketch1  
the master should correct it and perfect
 it in its movement1 in  its ensemble1  
and in its expression4 ,in this way the 
youth will take  courage and cognisance 
of his own powers1 and improve4         
,sidenote3 ,,faults ,,of ,,young        
,,students4    ,one of the commonest    
faults with young scholars is their     
slothfulness in  trying to discover for 
themselves their own way to express     
their ideas4  ,for the most part1 they  
are completely deficient in this1 and   
prefer to  seek among the works of their
 master1 or of some other master1 for   
their  subjects1 types1 and             

movements--and thus1 with little fatigue
 and less  honour1 they only succeed in 
giving a colourless reminiscence of     
works  already known2 and one of the    
faults of the master is this--not only  
to  allow his scholars to imitate and   
steal from him1 but what is worse1 to   
desire to impose upon them his own works
 as models4    ,sidenote3 ,,illness ,,of
 ,,my ,,mother4    ,i return to my      
narrative4 ,in my stable ,i pursued my  
artistic life freely  and happily1 with 
power to select the work ,i was to do1  
to carry out my  own designs in whatever
 style ,i liked1 and almost to fix their
 prices4  ,in this way1 with only a     
half-day's work1 ,i was able to carry   
home my  ordinary earnings for the      
maintenance of my family2 and beyond    
this1 ,i  had two francs over to pay my 
model for the remainder of the day1     
which  ,i spent on my basso-relievo4 ,my
 daily life1 therefore1 was gay and free
  in my stable1 timorous and gloomy in  
the studio ,cambi1 and peaceful1  glad1 

and quiet all the evening at home4 ,but 
for all this1 the  bitterness had to    
come4 ,the other competitor1 ,ludovico  
,caselli1 was  already hinting it about 
that the basso-relievo was not made by  
me1 and  that ,professor ,cambi worked  
upon it4 ,caselli was modelling under   
the  direction of ,professor ,pampaloni2
 but ,i never complained that ,pampaloni
  worked upon it1 although there were   
some who affirmed that he did4 ,i  kept 
my peace1 and resolved formally in my   
own mind that whatever should  be the   
issue of this competition1 ,i would     
again make an attempt the next  year4   
,when the time of the exhibition and the
 decision approached1 ,i  began to hear 
contemptuous and insolent rumours1      
which1 whether ,i failed  or was        
successful1 would equally afflict me4   
,to this is to be added1  that my poor  
mother was suffering from a very severe 
illness--an  illness1 indeed1 that      
carried her in a few days to her grave4 
,i  remember1 as something that still   

pierces my heart1 the interest she      
showed during that illness for me1 for  
my competition1 and for my  triumph 7as 
she called it72 and it seemed as if this
 belief of my loving  mother gave a     
certain alleviation to the terrible     
anguish of her  disease1 which every day
 grew worse and worse4 ,this was in the 
first  days of ,september #ahdj4 ,on    
,sunday the #aeth the decision was to be
 given1  and my poor mother was at the  
point of death4 ,what ,i felt in my     
heart  may be imagined1 it cannot be    
told4 ,the instant ,i heard that the    
prize  had been given to me1 ,i ran to  
my mother--from whom ,i had of late been
  somewhat separated--with almost a hope
 that this good news might bring  her   
back to life again4 ,and in fact1 on    
hearing this news her face  became      
radiant1 her cheeks glowed1 her eyes1   
which for a time had seen  nothing1     
became animated and seemed to gaze at   
me4 ,then she stretched  out her arms1  
and1 pressing me to her1 said1 ,now ,i  

die willingly4 ,she  lived a few days   
longer1 and then1 comforted by the      
sacrament of our  holy religion1 died4  
,she had finished her short life of     
about fifty  years1 in the restrictions 
of poverty and in the bitterness of one 
of  the greatest misfortunes--blindness4
 ,god has taken her to the joy of ,his  
infinite mercy4    ,sidenote3 ,,decision
 ,,of ,,the ,,academy4    ,the conflict 
of judgment among the professors of the 
,academy at the  competition was        
tempestuous1 and the result             
extraordinary4 ,the votes  were divided 
thus3 ,ten votes were given for my      
model1 four or five 7if ,i  mistake not7
 to that of my competitor1 and there    
were eleven votes for a  division of the
 prize4 ,i thought that votes for a     
division could not  properly be given2  
and at all events1 as ,i received ten   
and the other  four1 ,i considered      
myself the superior4 ,but no4 ,the legal
 adviser  declared that the number      
eleven was superior to the number ten1  

and as  eleven had voted for the        
division1 that the prize must be        
divided4 ,but  the matter did not end   
here4 ,my competitor1 not satisfied with
 his  prize1 went about saying that it  
was not ,i who had competed2 that he did
  not know who ,i was1 nor where ,i had 
studied2 and he threatened to  challenge
 me to ,i know not what trial in design 
or modelling4 ,i answered  that ,i      
intended to continue to study1 and that 
naturally we should be  measured against
 each other often1 if he chose to have  
it so2 and this  put an end to it4 ,more
 than this1 we became friends1 and still
 are2 and  ,i believe he is now employed
 in the foundry of ,cavaliere ,pietro   
,bonini1  as a designer or mechanic1 ,i 
don't well know which4 ,he is a man of  
talent1 and has made several works of   
sculpture1 among which are ,hagar  and  
,ishmael1 ,susannah1 and the statue of  
,mascagni which is under the  ,uffizi4  
,sidenote3 ,,model ,,of ,,youthful      
,,bacchante4    ,but in the opinion of  

the young students at that time there   
still  remained a doubt whether that    
work was all grist from my mill1 and in 
consequence ,i had a strong desire to do
 something by myself in my own  studio4 
,in order to put an end to all this     
gossiping1 ,i put up a figure  of life  
size representing a drunken and youthful
 ,bacchante leaning  against the trunk  
of a tree as half falling1 while she    
smiled and held  to her lips a goblet4  
,the difficulty of the subject was as   
great as my  inexperience4 ,the tender  
age of the model1 who could not be made 
to  stand still1 the difficult and      
fatiguing attitude1 my own total want of
  practice in setting up the irons and  
clay1 the smallness of the room1  and   
the deficiency of light1 were obstacles 
which conquered at last all  my poor    
capacity1 and my figure fell1 and ,i had
 not the courage to put  it up again2   
and it was all the better that ,i did   
not4    ,after this came new attacks1   
new gossip1 and new affronts1 all       

carefully  covered and veiled1 and1 as  
,giusti says1 ,tramati in regola1 alla  
sordina4    ,i have already spoken of   
the voting on the competition1 and ,i   
may as  well return to this here--for   
these memoirs are not solely a meagre   
narrative of my life1 but also an       
examination of principles2 and  whenever
 it seems to me proper to make this     
examination1 ,i shall do so1            
endeavouring1 as usual1 to be brief and 
clear4    ,and first of all1 you must   
believe that ,i do not return to this   
decision  to complain that the prize was
 divided between me and my rival2 and ,i
  wish you to understand that even had  
the entire prize been adjudged to  me1  
,i should equally have returned to this 
question4 ,the subject ,i mean  to      
examine is the false principle of a vote
 of division4    ,sidenote3 ,,votes ,,on
 ,,competitive ,,work4    ,whoever      
undertakes to judge of the comparative  
merit of various works1  ought1 ,i      
think1 to have sufficient critical      

ability to distinguish  minutely the    
smallest differences between these works
 on various  points--such as1 for       
instance1 their composition1 character1 
proportion1  movement1 expression1      
refinement1 historical accuracy in the  
types and  fashion of the dresses1      
truth1 style1 c4 c4 ,now it is          
absolutely  impossible that in all these
 particulars two works can be perfectly 
equal and of the same value2 and the    
conclusion thus far is unavoidable1     
that the judge who gives his vote for a 
division1 either has not the  qualities 
required to discern these delicate      
differences1 or omits  through culpable 
negligence to make such a rigorous      
examination as is  required to arrive at
 what is true and just4 ,therefore the  
,president  should declare formally that
 the votes for a division will be null2 
and  as their absence might invalidate  
the decision through a consequent       
deficiency of votes1 he should invite   
the judges to declare for one or  the   

other4 ,i conclude 7and with this ,i    
shall finish my disquisition on  this   
subject of division of votes7 that      
whoever feels inclined to give a  vote  
in this indeterminate way1 either is1 or
 thereby declares himself  to be1       
ignorant of the matter in regard to     
which he is required to have  knowledge 
and to give judgment4    ,the youthful  
,bacchante fell down2 and1 as ,i have   
said1 it was well that  it did4 ,this ,i
 say now2 but then ,i was much vexed1   
both on account of  the accident itself1
 and also for the unpleasant talk that  
it gave rise  to4 ,but after all1 things
 are what they really are1 and not what 
we  think them to be4 ,i was1 however1  
consoled by a commission--very small    
indeed1 but it seemed to raise my       
depressed spirits--and it was this1 to  
make the four ,cariatidi of the ,royal  
,box in the ,rossini ,theatre in        
,leghorn4 ,i should not have mentioned  
this humble work did it not give me     
occasion to note one thing which the    

young men of to-day seem to have        
forgotten4    ,sidenote3 ,,humble       
,,commissions4    ,it is common for the 
young sculptors of our day to scorn and 
sneer at  any work that is offered to   
them which they think beneath that skill
 and  capacity which they suppose       
themselves to possess2 and they will    
not1 as  they say1 abase themselves to  
mere work in plaster4 ,if any one orders
 of  them a bust or a statue in plaster1
 their pretence is so excessive that    
they deem it an insult4 ,now1 ,i say the
 material counts for nothing2 and  a    
plaster statue merely for decoration1   
well executed1 is worth more  than a    
statue in marble or bronze which is ill 
executed4 ,undoubtedly1 if  one could   
choose1 he would reject the statue in   
plaster and accept that  in             
marble--always1 however1 recognising    
that the one essential thing is1  to do 
his work well4 ,but ,i was not given    
this choice1 and ,i accepted  this      
humble commission1 and executed it with 

zealous love4 ,there was  this1 too1 of 
good in the commission--it might induce 
me to believe that  ,i should have made 
a far better statue had ,i been given   
more time and  more means to make one of
 my own selection2 and ,i said1 ,if ,i  
have been  able to make these statues in
 a month1 with thirty or forty lire to  
pay  to my models1 how much better ,i   
might do in five or six months1 with    
much more money6 ,the question reduces  
itself1 then1 to time and money4  ,let  
the young artist consider whether my    
reasoning is not just2 and let  him also
 consider what is more important--that  
if ,i had not accepted  this commission1
 ,i should not have come to the         
knowledge of the power  that was in me1 
nor have gone through the reasoning     
which by strict  logic induced me to    
make the ,abel4    ,this humble work was
 of great importance to me1 and ,i      
recommend it to  the attention of those 
young artists who consider themselves   
humiliated  by small commissions4 ,no2  

do not let them be alarmed either by the
  subject or the material1 and if they  
should receive an order even for a      
great terra cotta mask for a fountain1  
provided it be well made1 they  will    
acquire by it praise1 and new and       
worthier orders1 so long as their  sole 
endeavour is to do their work well4     
,,chapter ,,vi4         ,,an ,,unjust   
,,law--,,the ,,abel--,,brina ,,the      
,,model ,,and ,i ,,in ,,danger ,,of     
,,being ,,asphyxiated--,,my ,,first     
,,request--,,benvenuti ,,wishes ,,to    
,,change       ,,the ,,name ,,of ,,my   
,,abel ,,for ,,that ,,of ,,adonis--,i   
,,invite ,,bartolini ,,to       ,,decide
 ,,on ,,the ,,name ,,of ,,my            
,,statue--,,bartolini ,,at ,,my         
,,studio--,,his       ,,advice ,,and    
,,corrections ,,on ,,the                
,,abel--,,lorenzo                       
,,bartolini--,,giuseppe                 
,,sabatelli--,,exhibition ,,of ,,the    
,,abel--,,it ,,is ,,said ,,to ,,be      
,,cast ,,from       ,,life--,i ,,ask    

,,for ,a ,,small ,,studio1 ,,but ,,do   
,,not ,,obtain ,,it--,,my ,,second      
,,and ,,last ,,request--,,the           
,,president ,,antonio ,,montalvo--,i    
,,don',t       ,,succeed ,,somehow ,,in 
,,doing ,,anything ,,as ,i ,,should--,i 
,,talk ,,over       ,,matters ,,at      
,,home--,,count ,,del ,,benino ,a ,,true
 ,,friend ,,and ,,true                  
,,benefactor--,,his ,,generous ,,action4
      ,while ,i was pondering a subject 
for a statue which should silence the   
idle and malevolent1 it happened that a 
competition in sculpture was  opened in 
,siena1 in which no one could compete   
but those who were of  that country and 
province4 ,naturally ,i determined to   
compete4 ,the only  other competitor was
 the young sculptor ,enea ,becheroni1 a 
pupil of the  ,academy there4 ,another  
wished to enter into the competition1   
and this  was ,giovanni ,lusini1 an     
accomplished sculptor who had lately    
returned  from ,rome1 where he had been 
pensioned for four years1 he having     

gained  the prize at the quadrennial    
competition of our ,academy at          
,florence4 ,but  he was not allowed to  
come in2 for although1 like ,becheroni  
and myself1  he was a native of ,siena1 
he was inadmissible because he had      
passed the  age decreed by the rules4   
,this competition was called            
,biringucci1 from  the name of the      
worthy man who by his will had founded a
 prize and  pension for sculpture1 as   
well as others for painting1            
architecture1 and  various sciences that
 ,i do not remember4 ,the studies and   
pensions  established by him had been in
 existence for more than #cjj years1 and
  are still in existence1 but1 by one of
 those curious combinations that  some  
would call a fatality1 precisely in this
 very year1 when it would  have been    
most welcome to me1 the prize for       
sculpture was struck out by  one stroke 
of the pen4    ,sidenote3 ,,biringucci  
,,competition4    ,i had already for    
some time prepared myself for this      

competition1 which  required that the   
artist should be shut up in a room by   
himself1 and  there should make1 in the 
course of one day from morning till     
evening1 a  sketch in clay of some      
subject drawn by him by lot at the      
moment of  entering the studio4 ,for a  
considerable time ,i had made nothing   
but  sketches2 and within a space of    
time certainly not greater than that    
allowed by the competition1 ,i had in   
fact made some dozen1 and by  practice  
,i had become so rapid in composition1  
that whatever subject  might be given   
me1 ,i felt fully equipped1 so as to be 
able to come out  of the struggle with  
honour4    ,one day--it was ,sunday--,i 
was standing in my little studio in the 
,via  del ,palagio1 and modelling one of
 these sketches1 the subject of which   
was ,elias carried away in the chariot4 
,i was working with goodwill1 and  was  
happy and in the vein4 ,my father had   
come to see me1 and he was  sitting and 
reading quietly the ,bible4 ,the bell   

rang1 and a letter was  given me bearing
 the post-mark of ,siena1 and ,i        
recognised the  handwriting of the      
secretary of the competition1 ,signor   
,corsini4 ,i  opened the letter1 and    
read that the ,government had suppressed
 the  pension for sculpture as being    
superfluous1 and had disposed of the sum
  by appropriating it to a chair at the 
,university1 and therefore the          
competition would not take place4 ,i    
see1 as if he were now before me1 my    
father start up suddenly and            
exclaim--,sagratino ,moro ,moraccio     
7which  is1 literally1 ,cursed ,moor of 
the ,blackamoors 71 what have you done8 
,sidenote3 ,i ,,smash ,,my ,,sketch ,,of
 ,,elias4    ,with one blow of my fist  
,i had smashed to pieces my poor ,elias1
 and he  saw it on the ground between   
the legs of the horse4    ,read1 ,i     
said1 giving him the letter4            
,scarcely had he fixed his eyes on it1  
than he grew red1 stamped with his      
feet1 and repeated his usual ,sagratino 

,moro4 ,i was at once aware that  ,i had
 acted ill in giving way thus brutally  
to my irritation4 ,this ,i  have        
recounted out of love of the truth1 and 
that those who know me now  may see how 
different ,i was then1 and how          
ludicrously that excitability  of       
character which ,i still feel1 but which
 ,i have learned how to  repress1 was   
exhibited in the tragic destruction of  
that poor sketch4    ,and this too was  
of advantage1 just as the gossip and    
incredulity about  the first triennial  
was4 ,the refusal to give work was also 
of advantage1  when ,i went seeking     
about from studio to studio1 and it was 
denied to  me1 even in terms of scorn4  
,it was all of advantage to me4 ,it     
obliged me  to concentrate myself1 and1 
seeing myself rejected on all sides1 to 
will  and to know1 and with ,god's      
assistance to make my place with my own 
unassisted powers4 ,it was all          
right--thoroughly right2 ,i repeat it4  
,who  can tell8 ,the pension of ,siena  

was for ten years4 ,may ,god pardon me1 
but  ,i always feared that that pension 
might prove to me1 as it had to  others1
 a ,capuan idleness4    ,i began now to 
turn over in my mind a new subject which
 should be  serious and sympathetic1 and
 into which ,i could put my whole heart1
  strength1 will1 hopes1 and all--and ,i
 found it4 ,among the pictures1         
bronzes1 and terre cotte of ,pacetti's  
shop1 where ,i used often to  wander    
about1 ,i was struck by a group in terra
 cotta of a piet4 ,the  figure of       
,christ specially seemed to me          
beautiful2 and ,i had half a mind  to   
make a dead ,christ1 and went about     
ruminating in my mind over the          
composition4 ,certainly a dead ,christ  
would be1 as it always is1 a very       
sublime theme4 ,but yet ,i was not      
satisfied4 ,i wished to find a new      
subject2 and as the ,bible was familiar 
to me1 the death of ,abel  suggested    
itself1 and ,i seized upon it with      
settled purpose4 ,i sought  for a studio

 to shut myself up in with the model1   
and ,i found one in the  ,piazzetta of  
,s4 ,simone1 opposite the church4 ,then 
,i put together a few  sous to buy me   
two stands1 one for the living model and
 one for the  clay4 ,among the nude     
figures which ,i saw in the evenings    
when ,i went to  draw1 ,i selected the  
one that seemed to me best adapted to   
the subject1  and ,i arranged with him  
to come to me every afternoon1 as ,i was
 employed  in wood-carving all the      
morning4 ,i had already made several    
sketches1  but ,i wished to make one    
from life1 so as to be sure of a good   
movement  and a true expression4 ,it was
 on ,shrove ,thursday in #ahdb1 and all 
the  world who could and wished to do   
so1 were walking about in the ,corso4   
,the model and ,i were shut up together 
in the studio1 and it was nothing  less 
than a miracle that that day was not the
 last of both of our lives4  ,poor      
,brina is still living1 as old as ,i am1
 and he still stands as a  model at our 

,academy4    ,sidenote3 ,,sketch ,,of   
,,abel4    ,sidenote3 ,i ,,am ,,nearly  
,,asphyxiated4    ,and this is the way  
in which we ran the risk of losing our  
lives4 ,in the  studio which ,i had     
hired there was no way of putting up a  
stove1 except  by carrying the tube up  
through the upper floor1 and so out     
through the  roof4 ,the expense of doing
 this was large1 and for me very large2 
so ,i  determined to make a sketch from 
life1 and from this to put up my clay1  
and ,i hoped to be able to go on with   
the model without fire until the  warmer
 season came on4 ,but these days were so
 extremely cold that the  model could   
not remain naked even for a few minutes2
 and we determined  to warm the room    
with a pan of coals1 in which apparently
 there remained  a residuum of the      
powdery dregs of charcoal4 ,the brazier 
having been  lighted1 and at intervals  
stirred up1 the room1 which was small1  
was  soon tolerably warm4 ,i was intent 
on modelling with my tool the outline   

and planes of my sketch1 and moving     
about the model to assure myself of  the
 movement and the ensemble1 when ,i felt
 an oppression on my head2  but ,i      
attributed it to the intensity of my    
labour1 and on ,i went4  ,suddenly ,i   
saw the model make a slight movement1   
and draw a long deep  sigh1 and the eyes
 and the colour of his face were like   
those of a dead  man4 ,i ran to help    
him1 but my legs would not hold me up4  
,i half lost my  senses1 my sight grew  
dim4 ,i made an effort to open the door1
 and fell  to the ground4 ,but ,i had   
strength enough left to drag myself     
along to  it1 and kneeling1 ,i laid hold
 of the lock2 but the handle would not  
move1 and with the left thumb ,i was    
obliged to raise the spring1 and  with  
the right hand to draw the bolt1 and to 
do it quickly4 ,i was  wrestling with   
death1 as ,i well knew1 and ,i redoubled
 my efforts with  the determination not 
to die4 ,by good fortune1 by my panting 
,i drew in a  little breath of pure     

fresh air through the keyhole1 and at   
last ,i  pulled back the bolt1 and threw
 it wide open2 and there ,i sat drinking
  in full draughts of the outer air4 ,in
 the streets there was not a  living    
soul1 but ,i could hear the joyous      
shouts from the races in the  ,piazza or
 ,santa ,croce near by4 ,poor ,brina    
gasped and rolled his eyes4  ,the air   
which came blowing into the room revived
 him1 but he could not  rise4 ,i had    
entirely recovered1 except that ,i felt 
a tight band around  my head4 ,i ran to 
the nearest shop1 got a little vinegar1 
mixed it with  water1 and dashed it over
 his face4 ,we then extinguished the    
fire and  went away4    ,sidenote3      
,,petition ,,for ,,assistance4    ,i    
began to model the statue a few days    
after4 ,my mornings up to one  o'clock  
were employed in wood-carving1 and all  
the afternoon ,i modelled4  ,in this way
 ,i went on for some time1 and the      
statue was fairly well  advanced1 but ,i
 required a little more money4 ,the want

 of this made me  rather doubtful       
whether ,i should be able to finish the 
model in time for  the exhibition in    
,september4 ,i required thirty or forty 
pauls a-month  for five months in order 
to go on until ,september4 ,by the      
advice of  ,signor ,antonio ,sferra1 a  
publisher of prints1 ,i made a petition1
 to  which ,professor ,cavaliere ,pietro
 ,benvenuti1 ,aristodemo ,costoli1      
,giuseppe  ,sabatelli1 and ,emilio      
,santarelli were kind enough to append  
their names4  ,this petition1 which ,i  
now have under my eye1 and which ,i copy
  literally1 was as follows4 ,it was not
 dictated or written by me4 ,my  friend 
,giuseppe ,saltini1 now ,government     
,physician at ,scrofiano1 did me  this  
favour3--    ,,illustrissimi            
,,signori1--,the undersigned being      
desirous to submit to the  judgment of  
the public a work of sculpture at the   
exhibition of the  ,academy of ,fine    
,arts during the current year1 has begun
 to model for his  studio a figure1 of  

life size1 representing a ,dying ,abel4 
,family  circumstances have1 however1   
deprived him of the means which were    
required to bring this work to a        
conclusion4 ,regretting to find his     
money and labour spent thus far to no   
purpose1 he refers himself to the       
philanthropy of his countrymen1 in the  
hope that they will lend him  their     
assistance4 ,the sum required he has    
calculated at only forty  francs a-month
 until the time of the said exhibition4 
,sidenote3 ,,subscriptions4    ,he begs 
to inform all those persons who will    
kindly lend him their aid  and honour   
him with a visit1 that the statue which 
he has begun is at  his studio1 opposite
 the ,church of ,s4 ,simone1 where the  
undersigned will  be glad to express to 
them his gratitude1 and where the       
undersigned  professors1 in attestation 
of their goodwill1 have not disdained to
  honour him with their                 
approbation4--,he subscribes himself as 
their most  devoted and obliged servant1

                                        
,,giovanni ,,dupr4      ,studio1 #aeth  
,april #ahdb4          ,,cav4 ,,pietro  
,,benvenuti4        ,,aristodemo        
,,costoli4        ,,giuseppe            
,,sabatelli4        ,,emilio            
,,santarelli4    ,the signatures of the 
subscribers were as follows3--          
,maria ,bargagli1 widow of ,rosselli del
 ,turco          ,lire #b  #j  #j       
,antonio ,sferra                        
#d  #j  #j      ,n4 ,n4 will pay in all 
as above                            #d  
#j  #j      ,e4 ,merlini                
#c  #j  #j      ,e4 ,ba4                
#c  #f  #h      ,m4 ,m4 will pay in all 
as above                            #b  
#f  #h      ,g4 ,c4 pays at once        
#aj  #j  #j      ,t4 ,d4 ,b4 will pay up
 to ,september                          
#f #ac  #d    ,and thus ,i obtained #bf 
lire and #d crazie a-month for five     
months1 which  were sufficient to enable
 me to finish the ,abel4 ,from that time
  forward ,i have troubled nobody4      

,sidenote3 ,,visit ,,to ,,bartolini4    
,thanks to the aid of those generous    
persons who assisted me1 and whose      
names as ,i read them thrill me to the  
heart1 ,i went on every day with my     
model1 carefully copying him1 and giving
 a proper expression4 ,there was  a     
moment when ,i hesitated as to the name 
,i should give to my statue1--or  ,i    
should rather say1 that this hesitation 
was induced by the ,cavaliere  ,pietro  
,benvenuti1 who thought that1 in        
consequence of the absence of any  clear
 attributes to explain the subject1 ,i  
should rather call it an  ,adonis4 ,i   
had never been greatly impressed either 
by the name or story  of ,adonis1 and ,i
 never had wished to join the devotees  
of ,olympus2 but  my respect for this   
gentleman made me somewhat hesitate1 and
 before  going on further1 as the       
difference of subject required a        
difference of  character1 expression1   
and style1 ,i determined to ask the     
judgment of  some one in whose decision 

,i could in every way safely            
confide--and this  person was           
,bartolini4 ,with this view ,i went one 
morning to his house in  ,borgo ,pinti1 
having already informed myself that the 
hour when he could  receive me was      
between half-past five and six o'clock  
in the afternoon4  ,i see him as if it  
were now4 ,he was seated in his garden1 
with a cup of  coffee1 which he was     
slowly sipping when ,i approached him   
and said1  ,signor ,maestro1 would you  
do me the favour to visit me at my      
studio1  and give me your opinion on a  
statue that ,i am modelling8    ,he     
answered3 ,you have called me maestro1  
and that is all right2 but ,i  do not   
know you3 you are not one of my scholars
 at the ,academy4 ,who is  it1 then1 who
 supervises your statue1 and who is your
 master8    ,i had some time ago some   
lessons from ,magi and ,cambi1 and ,i am
 not  unknown to you1 who had the       
kindness to praise a little statuette of
  mine in wood1 the ,santa ,filomena4   

,but ,i have asked neither ,magi nor    
,cambi1 nor any one else1 to correct the
 statue that ,i am now making1 and  this
 for very good reasons4    ,sidenote3   
,,bartolini ,,returns ,,my ,,visit4     
,bartolini smiled at these words1 and   
said to me1 ,to-morrow at six ,i  will  
come to see you4 ,leave your name with  
the servants1 and go in  peace4    ,in  
the evening1 when ,i went home1 ,i said 
to my wife3 ,listen4 ,call me  early    
to-morrow morning1 for before six ,i    
must be at my studio1 as a  ,professor  
is coming to see my statue4    ,and she 
called me1 poor dear--and called me in  
time4 ,how it happened ,i  know not1 but
 ,i was late1 and six o'clock was       
striking as ,i passed the  ,piazza di   
,sta ,croce4 ,when ,i arrived at my     
studio1 ,i found in the hole of  the    
door-lock the card of ,bartolini1 on    
which he had written in  pencil--,six   
o'clock in the morning4 ,i ran          
immediately to his studio in  the ,porta
 ,san ,frediano to make my excuses1 and 

to inform him that ,i had  been but a   
moment late4 ,his carriage was still at 
his door4 ,he had not  taken off his    
coat1 and he was correcting with his    
pencil a statue1 so  that the workman   
might see as soon as he arrived where he
 should work4  ,as soon as he saw me1   
and before ,i had begun to exculpate    
myself1 he  said1 ,never mind2 there is 
no harm done4 ,i will come again        
to-morrow4  ,addio6    ,it is scarcely  
necessary for me to say that the next   
morning ,i was at my  studio by five    
o'clock1 and at six ,bartolini knocked4 
,he came in1 looked  at the statue1     
scowling1 and pronouncing one of his    
oaths1 which ,i will  not repeat4 ,i    
begged him to tell me where ,i was      
wrong1 and how ,i could  make it better4
 ,he asked me what was the subject1 and 
,i told him that ,i  intended it for a  
,dying ,abel4 ,i then showed him the    
sketch1 upon which  was the goat-skin   
that as yet ,i had not put on the large 
model1 in order  first to study         

carefully the nude underneath4 ,and then
 ,i told him the  objection that        
,benvenuti had made1 and his proposal to
 change the  subject4 ,bartolini        
answered1 ,you will do the best possible
 thing not to  change it1 for1 as far as
 regards the clear indication of the    
theme1  nothing more could be done4     
,besides1 the goat-skin1 which          
immediately  denotes a shepherd1 the    
wound on the head1 and the expression of
  gentleness1 explain that it is ,abel4 
,now1 ,i will give you a little  counsel
 as to the unity of expression1 to which
 you must carefully  attend4 ,the face1 
you see1 is gentle1 and is that of a    
just man who  pardons as he dies4 ,the  
limbs also correspond to this sentiment 
,there is  only one discord1 and that is
 in the left hand4 ,why have you closed 
it1  while the right hand is open1 and  
just as it should be8    ,sidenote3     
,,bartolini',s ,,criticism4    ,i closed
 it1 ,i answered1 in order to give      
variety4    ,variety1 said the master1  

is good when it does not contradict     
unity4  ,you will do well to open it    
like the other1--and ,i have nothing    
else to  say4    ,this comforted me1 but
 wishing to draw from him something     
more1 in an  exacting tone ,i said1 ,and
 as to the imitation1 the character1 the
  form8    ,the imitation1 the          
character1 and the form of this statue  
show that you  are not of the ,academy4 
,other words he also added1 which it is 
not proper for me to report4 ,as  to the
 feet1 he only made a movement with his 
thumb1 and ,i said1 ,i  understand4     
,he looked at me1 and added1 ,all the   
better for you if you have  understood4 
,this ended all the correction of my    
statue made by this singular man4 ,it   
was the first and the last4 ,bartolini  
was disdainful and unprejudiced1  and   
called things by their real name2 and if
 any one seemed to him an  ass1 he      
called him an ass1 though he might be   
senator or minister4 ,he  knew that he  
was a great sculptor1 and liked to be so

 recognised by all4  ,he was often      
epigrammatic1 and to his pungency he    
frequently added  indecency1--liberal   
and charitable1 jealous of the decorum  
and education  of his family1 an admirer
 of the code of ,leopold1 ,frederic the 
,great1  ,napoleon the ,great1 and the  
principles of ,eighty-nine4 ,he liked to
 be  called master1 and detested to be  
called professor4 ,he ridiculed all     
decorations1 but what he had he wore    
constantly4 ,as a sculptor he was  very 
great4 ,his example was better than his 
teaching4 ,he restored the  school of   
sculpture by bringing it back to the    
sound principles of  truth4 ,his enemies
 were numerous and very provoking1 but  
he took no  pains to conciliate them4   
,when he was irritated1 he struck about 
him  right and left1 lashing out        
fiercely1 and laughing4    ,sidenote3   
,,bartolini',s ,,character4    ,i went  
on and finished my statue1 shutting out 
everybody except my  dearest friends1   
among whom was ,professor ,giuseppe     

,sabatelli1 who1 after  seeing my work  
and signing my petition for assistance1 
took a liking to  me4 ,and every        
morning1 with a knock which we had      
agreed upon1 he came to  my studio to   
sit for a while1 before going1 as usual1
 to paint the  cupoletta of the ,chapel 
of the ,madonna in the ,church of ,san  
,firenze4  ,he used at once to sit down 
and say--,i am not ill1 but ,i am tired4
 ,he  was thin and pale1 and his black  
moustaches made his gentle and quiet    
face look even paler4 ,only few and     
kindly words came from his lips4 ,as a  
companion1 he was mild and pleasant4    
,his memory comes over me sadly1 and    
seems like the remembrance of something 
dear which has been mislaid1 but  not   
lost4    ,sidenote3 ,i ,,finish ,,the   
,,abel4    ,by the first days of        
,september ,i finished the ,abel2 and   
the caster  ,lelli1 who was then also a 
beginner1 undertook the casting1 and    
gave his  service in the most friendly  
way1 so that the expense should be as   

small  as possible4 ,all my friends1    
indeed1 came forward to aid me in making
  the mould and casting1 and removing   
the outer mould1 with that brotherly    
love that ,i still recall with emotion4 
,they are still living3 ,ferdinand      
,folchi the painter1 who served me as   
model for the hands2 ,ulisse ,giusti1   
the carver2 ,bartolommeo ,bianciardi1   
,paolo ,fanfani1 and ,michele ,poggi1   
all carvers4 ,they came to help me to   
raise and turn over the mould1 or  to   
give me any other assistance4 ,folchi   
and ,sanesi assisted me in taking  off  
the waste mould2 and1 in a word1 all    
were eager to see my work  finished and 
put on exhibition4 ,bartolini told me to
 select the place at  the ,academy that 
,i thought best2 and that if ,i found   
any opposition1 as  no one but the      
professors had any right to make the    
choice of place1 to  come to him there  
in the school1 and he would arrange it  
for me4 ,i had  no occasion to avail    
myself of this frank and kind offer1 for

 no sooner  had ,benvenuti seen me and  
the statue than he said1 ,select the    
place and  the light that you prefer4   
,as soon as the exhibition was opened   
there was a crowd about my statue4  ,its
 truth to nature1 its appropriateness of
 expression1 and the novelty  and       
sympathetic character of the subject1   
made a great impression1 and  every day 
the crowd about the statue increased4   
,but little by little it  began to be   
whispered about1 first in undertones1   
and then more openly  and               
authoritatively1 that the statue was    
worth nothing1 because it was  not      
really a work of art1 but merely a cast 
from life2 that ,i had wished  to take  
in the ,academy1 masters1 scholars1 and 
the public2 and that such  a living     
piece of work thus introduced as if it  
were a work of art1  while in point of  
fact it was a mere cast from life1 ought
 at once to be  expelled from the public
 exhibition4 ,and this scandalous talk1 
which was  as absurd as malign1         

originated among the artists1 and       
especially among  the sculptors4 ,it was
 pushed to such a point1 that in order  
to make the  fraud clear1 they obliged  
the model1 ,antonio ,petrai1 to undress1
 and  laying him down in the same       
position as the statue1 they proceeded  
with  compasses and strips of paper to  
take all the measures of his body in    
length and breadth4 ,naturally they did 
not agree in a single measure2  for1    
without intending it or thinking about  
it1 ,i had made my statue  four fingers 
taller and two fingers narrower across  
the back4 ,this  beautiful experiment   
was made in the evening2 and the        
,president of the  ,academy1 who by     
chance surprised them in the very act1  
reprimanded all  severely1 not heeding  
whether among them there were           
professors4    ,sidenote3 ,,malignant   
,,accusations4    ,but none the less    
this malignant and ridiculous accusation
 was still  kept up1 and nothing was    
said of the failure of the attempted    

proof4 ,the  model himself1 who         
persisted in affirming that the statue  
was modelled  and not cast1 was openly  
jeered2 and one person went so far as to
 tell  him1 that for a bottle of wine he
 could be made to say anything4 ,but the
  person who thus insulted ,petrai had  
better have let him alone1 for          
,tonino--who1 poor man1 though now old1 
would still hold his own  perhaps--added
 certain arguments to his words which no
 one dared to  resist4    ,signor       
,presidente ,montalvo was quite right in
 expressing his disapproval  of this    
dirty and impertinent examination1 which
 was made without giving  notice to the 
,president and ,director of the         
,academy2 but1 besides this1  he felt   
all the more inclined to assume my      
defence on account of a  little debt of 
conscience that he had towards me1 and  
that he wished to  pay off4    ,one day1
 before resolving to take a studio on   
lease1 ,i made up my mind  to petition  
the ,grand ,duke to give me one gratis4 

,the ,government had  then at its       
disposition several small studios1 which
 were given away1  without rent and for 
an indefinite time1 to those young men  
who either  in painting or sculpture    
gave good promise not only of aptitude1 
but  also of goodwill and proper        
conduct4 ,as ,i did not think myself    
wanting  in all these qualities1 and    
specially the last two1 ,i determined to
 make  an application1 driven to it     
indeed by necessity4 ,but before        
presenting  my petition ,i wished to    
inform the ,president of it1 and to beg 
that he  would be so kind as to lend me 
his support1 as ,i well knew that       
petitions of this nature were always    
passed on to him for due  information4  
,sidenote3 ,,petition ,,for ,a          
,,government ,,studio4    ,montalvo was 
a perfect gentleman1 and of an ancient  
and wealthy family1  instructed in the  
history of art1 a great admirer of it1  
and a very good  friend of all artists1 
especially of those who to their        

artistic skill  added an outward        
practice of religious duties1 to which  
he was a  devotee--though1 as far as    
sentiment1 enthusiasm1 and real taste   
for art  go1 he was not distinguished4  
,accordingly1 ,i went one morning to pay
 him a visit at his rooms in the        
gallery of the ,uffizi--he being also a 
,director of the ,royal ,gallery4 ,i    
must here premise that ,i was not much  
in his good graces1 because ,i had  not 
studied at the ,academy1 which he       
believed to be the true nursery of  an  
artist4 ,as soon as he saw me1          
suspecting perhaps what ,i had come to  
ask1 he said to me--    ,and what do you
 want8    ,i come1 ,signor ,president1  
to say to you that ,i have made a       
petition to  his ,royal ,highness the   
,grand ,duke in the hope of obtaining a 
studio to  make a model of a statue that
 ,i wish to exhibit this year in the    
,academy4 ,my means are narrow1 because 
,i have a family2 and before  presenting
 this petition to the ,sovereign1 ,i    

have thought it my duty to  inform you1 
and at the same time to beg your aid1   
and to use your  influence that it may  
be answered favourably4    ,sidenote3   
,,government ,,studio ,,refused4    ,he 
answered1 ,you are not a pupil of the   
,academy1 and therefore you have  no    
right to ask for a studio1 which the    
grace of the ,sovereign grants  only to 
those who have completed their studies  
in our ,academy of ,fine  ,arts4    ,if 
,i have not studied1 ,i answered1 at the
 ,academy1 ,i have competed  there1 and 
gained the triennial prize1 which is the
 end of the studies  at the ,academy4   
,the good ,signor replied with          
impatience1 ,which1 then1 do you think  
that  you are1 ,canova or ,thorwaldsen8 
,god save us1 ,signor ,president1 ,i    
never thought this6 ,but it may be      
permitted to me to observe1 that even   
,canova and ,thorwaldsen began from     
small beginnings1 and were not born at  
once great sculptors1 as ,minerva       
sprung from the head of ,jove4    ,you  

see that ,i really had no luck this     
morning2 for the ,director1  rising1    
said to me1 ,ah1 then1 as you argue in  
this way1 ,i will tell you  that1 if the
 petition is referred to me for         
information1 you shall have  nothing1   
and then reseated himself4    ,i made my
 bow1 and went out4 ,but when ,i was    
outside1 and wished to put  on my hat1  
,i found it was completely crushed3     
without being aware of it1  ,i had      
reduced it to this state4 ,so much the  
better4 ,you lose as far as  your hat is
 concerned1 but you gain in character2  
and ,i counsel all  young men who find  
themselves in a similar situation to    
take the same  course4    ,sidenote3    
,,cavaliere ,,ramirez ,,di ,,montalvo4  
,but for all this1 ,i repeat1 ,cavaliere
 ,ramirez di ,montalvo was a good and   
excellent man2 but everything irritated 
him which seemed to him in the  least to
 run off the rails4 ,in his view1 a     
youth who had not come out of  the      
wine-press of the ,academy could have   

little good in him1 and he  looked upon 
him as being a schismatic or            
excommunicated person4 ,the  ,academy   
was to him the baptism of an artist1 and
 outside of it he saw  neither health   
nor salvation4 ,i fell under him1 and he
 crushed me4  ,parce sepulto4    ,but he
 was soon obliged to go back on this    
academic puritanism4 ,his  friend       
,cavaliere ,pietro ,benvenuti spoke to  
him in praise of this germ  which was   
budding forth outside the privileged    
garden2 and he soon began  to regret    
having treated me with a nonchalance    
more appropriate for a  pasha than a    
,christian4 ,i believe this--and more1  
,i am sure of it2 for  having gone one  
day to invite him to come and see a     
statue which ,i was  modelling1 he      
received me with singular kindness4 ,it 
was as if he had  never seen me before1 
much less had spoken to me so severely  
only a few  months before1 when ,i urged
 him to look with favour on my petition 
for a  studio4 ,i was moved to invite   

him1 not only because by nature ,i am   
not  tenacious in my resentments1 but   
because ,i knew that he desired to see  
me--perhaps because he regretted not    
having been able to further my  request4
 ,in a word1 ,i went to see him1 and    
found him most kindly  disposed1 as ,i  
have said2 and he accepted my           
invitation1 and came to  call upon me at
 my studio in ,san ,simone1 where ,i    
modelled my ,abel4    ,i have said that 
,cavaliere ,montalvo was rather         
deficient in his  sentiment and taste   
for art1 but he liked the contrary to be
 thought of  him4 ,he was not indeed    
entirely without a certain discernment1 
and he  had enough to enable him to     
distinguish an absolutely bad thing from
 an  absolutely good thing4 ,he was1 in 
a word1 a connoisseur in a general  way2
 but his dignity as ,director of the    
,royal ,galleries1 and even more  as    
,president of the ,academy of ,fine     
,arts1 required him to  conscientiously 
believe himself a connoisseur with      

refined taste4 ,what ,i  was then       
ignorant of in this respect ,i now      
clearly know1 but ,i had a  suspicion of
 this from the manner in which he looked
 at my statue1 and  by his expressions  
of praise1 which were interlarded with  
commonplaces  which he had learned from 
the stale formulas of the ,academy4 ,and
 in  order that ,i should not imagine   
that he had found everything as it      
should be in the statue1 he wished to   
point out some defect1 and what he      
discovered was this1 that the left ear  
seemed a little too far back1 by  which 
the jaw was enlarged beyond what it     
should be4    ,sidenote3 ,,an ,,amateur 
,,critic4    ,i have promised from the  
beginning to tell the truth1 and ,i will
 tell  it1 with the help of ,god1 even  
to the end4 ,i must here confess that ,i
  acted like a hypocrite4 ,instead of   
answering1 ,it does not seem so to  me1 
but ,i will measure it to assure myself1
 ,i told him that he was  right1 and ,i 
was much obliged to him2 and more1 when 

he favoured me with  a second visit1 ,i 
said to him as soon as he came in--     
,look at the ear4    ,have you compared 
it with the model8    ,yes4    ,have you
 moved it a little more forward8    ,eh8
 what do you think8    ,ah6 now it is   
right4    ,when ,i think of this1 now   
that ,i am old1 it seems to me a very   
bad  thing1 a most vile lie1 under which
 7may ,god pardon me67 was concealed    
perhaps a secret sentiment of vengeance2
 and yet that lie made him a  friend to 
me1 and so he remained as long as he    
lived4 ,but thenceforward  ,i have      
always guarded myself from lying1 and   
above all1 from making game  of any one 
who trusted me4    ,sidenote3 ,,great   
,,artist--,,miserable ,,impostor4    ,i 
return to the event of the exhibition4  
,my name was on the lips of all2  some  
praised me to the skies1 some despised  
me as the most vulgar of  impostors4    
,bartolini1 ,pampaloni1 and ,santarelli 
openly assumed my  defence4 ,the ,grand 
,duke asked ,giuseppe ,sabatelli about  

it1 and he  assured him that the statue 
was really modelled1 and not cast from  
life1  and that he had been an          
eyewitness of my work1 staying in my    
studio  every morning1 and had seen me  
working at it4 ,i was exposed to a      
tempest  of words and looks             
diametrically opposed to each other4    
,the meaning of  the two parties might  
be rendered by precisely these words1   
great  artist1 miserable impostor4 ,my  
poor wife consoled me by saying--    ,do
 not be troubled1 do not listen to them4
 ,they are irritated because  you have  
done better than they4 ,they will talk  
and talk1 and at last  they will hold   
their peace4    ,yes1 my dear ,marina1  
they will hold their peace2 but in the  
meantime1  what an injury they have done
 me6 ,a certain person perhaps would    
have  given me an order for the statue1 
as ,i know2 but after all this absurd   
and evil-minded chattering1 he mistrusts
 me1 and will now do nothing1  and ,i am
 crushed and overcome by the very thing 

which ought to have  given me reputation
 and cleared my path for me4 ,in the    
same way that ,i  have made this statue1
 ,i know that ,i can make another4 ,the 
will to do it  is not wanting1 but how  
can ,i bear the expense4 ,my earnings1  
as ,i well  see1 are not sufficient to  
support the family1 and to pay the      
model1 the  rent of the studio and the  
casting1 and to buy what is necessary   
for  the studio4 ,besides1 ,i tell you1 
dearest1 that ,i cannot allow you to    
fatigue yourself with so much work4 ,you
 labour all day and all the  evening1   
you have a baby to nurse1 you get little
 repose at night1 and  do you think that
 ,i can allow you thus to wear your     
strength out8 ,i  hoped to enable you to
 get some rest1 and to lead an easier   
life1 and ,i  thought that ,i saw before
 us1 after ,i had breathed the last     
breath of  life into ,abel1 the         
beginning of our intellectual and loving
 life2 and  now ,i find that these are  
and were only vain hopes4    ,do not be 

troubled1 ,nanni1 said that blessed     
woman1 and she said  nothing more1 only 
her eyes were swimming with tears4      
,sidenote3 ,,count ,,del ,,benino4      
,in the meantime1 without knowing it1 ,i
 had a friend1 in truth a real  friend  
and benefactor1 in ,count ,f4 del       
,benino4 ,count ,benino was an old  man 
of noble and ancient family1 and a      
bachelor1 who lived in his own  palace  
in the ,borgognissanti1 and in precisely
 that on the ,lung',arno  which was     
designed by the able architect and      
engineer ,professor  ,commendatore      
,giuseppe ,poggi4 ,count ,benino had    
taken a liking to me when  ,i was a     
little boy in ,sani's shop4 ,he was a   
great and very intelligent  lover of the
 ,fine ,arts1 and everything relating to
 them1 and was  extremely interested    
that his house should be a model of good
 taste1  from the modest furniture of   
the entrance-hall up to his own private 
cabinet1 which was a wonder to behold4  
,the walls were surrounded by  bookcases

 of solid mahogany1 his study desk was  
also of mahogany2 the  chairs were      
covered with polished leather1 and the  
floors were of inlaid  wood and polished
 with wax4 ,the books on the shelves    
were bound simply  in leather in the    
,english style4 ,upon his desk1 among   
his books and  papers1 were various     
objects of great value--as1 for         
instance1 an  antique bronze inkstand   
ornamented with figures and arabesques1 
ivory  paper-cutters with richly carved 
handles1 portraits in miniature of      
persons dear to him1 and little busts in
 bronze and figures in ivory set  on the
 cases of the desk1 which were divided  
into compartments to hold  his papers4  
,in person he was tall and erect1 thin1 
and with full colour1  blue eyes1 and   
perfectly white hair4 ,he spoke with    
invariable urbanity  and facility1 not  
infrequently with pungency1 but always  
with proper  restraint4 ,he dressed very
 carefully1 and he liked the            
conversation and  sought the friendship 

of artists4 ,from the time when ,i was a
 youth in  ,sani's shop and worked for  
him as a wood-carver1 and afterwards    
while ,i  was working by myself in the  
,borghese stable1 up to the time when ,i
 was  making the ,abel1 when he was one 
of the subscribers to my petition for   
assistance1 and indeed the largest of   
them1 he never lost sight of me1  but   
often came to pay me a visit while ,i   
was modelling ,abel1 and showed  himself
 delighted with it1 and sure of my      
future2 and now1 perceiving  this       
scandalous plot to put me down1 he was  
indignant4 ,he came to seek  me out just
 at the moment when ,i was thoroughly   
discouraged and knew not  to what saint 
to recommend myself1 and after saluting 
me with his  customary ,sor ,giovanni1  
che fa8 7,how are you1 ,mr ,giovanni871 
seated  himself on the only seat ,i     
possessed1 and seeing that ,i was       
oppressed  with thought1 though ,i      
endeavoured to put a gay face on it1    
said to me--    ,sidenote3 ,,count ,,del

 ,,benino',s ,,kindness4    ,sidenote3  
,,generosity ,,of ,,count ,,del         
,,benino4    ,oh1 don't give up6        
,courage6 ,don't you hear how these     
donkeys bray8 ,what  they want is a good
 cudgel and a hearty beating4 ,don't    
think about it4 ,i  know what ,i am     
talking about4 ,i frequent the studios1 
and ,i see and feel  what a disloyal and
 foolish war they are waging4 ,but do   
not give them  time4 ,you must ward off 
the blow and give them two back4 ,in one
 studio  ,i heard a fellow1 whom ,i will
 not stop to name 7but names are of     
little  importance7--,i heard a fellow1 
who1 with a contemptuous laugh1 said1   
',the ,abel he could cast1 because the  
figure is lying down1 but a  standing   
figure he cannot cast4 ,he will not make
 one this year1 nor any  other year4'   
,and all the others laughed4 ,this      
happened only a few  moments ago1 and ,i
 have come now to tell you that it is   
your duty to  silence these snarling    
curs4 ,so1 dear ,sor ,giovanni1 you must

 make  another statue1 and this time a  
standing figure2 and 444 now be silent a
  moment4 ,i imagine very well what you 
will say4 ,i understand it all1 and  ,i 
say to you1 ,quit this studio1 which is 
not fit to make a standing  figure in1  
and go and look for another at once4    
,order the stands which  you require1   
think out your statue1 and ,i will pay  
whatever sum is  necessary4 ,you know   
where ,i live2 come there1 and you will 
find a  register on which you must write
 down the sum that you need1 and put    
your signature to it2 and when you have 
orders and work to do1 which  will not  
fail to come1 and have a surplus of     
money1 you may pay me back  the money   
that ,i advance4 ,say nothing4 ,i do not
 wish to be  thanked1--first of all1    
because ,i am not making you a present1 
and then  because ,i have my own        
satisfaction out of the proposition ,i  
make to you4  ,what ,i want is to laugh 
in the face of these rascals who are now
  deriding you1 and me too1 because ,i  

assert that ,i have seen you at your    
work4 ,so you see that ,i1 too1 am an   
interested party4 ,without spending a   
penny1 we have an advantage1 which1 with
 all my money1 ,i could not  otherwise  
get4 ,and now1 dear ,sor ,giovanni1 a   
rivederla4 ,i shall expect  you1 to give
 you the money you need4 ,lose no time1 
keep up your spirits1  and think of me  
as your very sincere friend4            
,,chapter ,,vii4         ,,the ,,grand  
,,duchess ,,maria ,,of ,,russia ,,and   
,,the ,,commission ,,for ,,the          
,,cain ,,and ,,abel--,,the ,,prince ,,of
 ,,leuchtenberg ,,and ,a ,,plate ,,of   
,,caviale ,,at ,,caff ,,doney--,,an     
,,unusual ,,amusement ,,that ,,did      
,,some       ,,good--,,again ,,the      
,,generosity ,,of ,,count ,,del         
,,benino--,,bartolini',s                
,,hunchback1 ,,and ,,in ,,consequence ,a
 ,,return ,,to ,,the ,,abel--,,bartolini
       ,,gets ,,angry ,,with            
,,me--,,examination ,,of ,,the          
,,materialistic ,,or       ,,realistic  

,,in ,,art--,,effects ,,of ,,the        
,,realistic--,,do ,,not ,,have ,,girls  
,,alone ,,by ,,themselves ,,for         
,,models--,,subscription ,,got ,,up ,,by
 ,,the       ,,sienese ,,to ,,have ,,my 
,,abel ,,executed ,,in ,,marble--,a     
,,new ,,way ,,of ,,curing       ,a      
,,cough--,,signora ,,letizia',s         
,,receipt1 ,,who ,,sent ,,it ,,and      
,,paid ,,for ,,it       ,,herself--,,one
 ,,must ,,never ,,offer ,,works         
,,gratis1 ,,for ,,they ,,are ,,not      
,,accepted--,,the ,,grand ,,duchess     
,,marie ,,antoinetta ,,orders ,,the     
,,giotto ,,for ,,the ,,uffizi--,,has    
,,abel ,,killed ,,cain8--,,statue ,,of  
,,pius       ,,ii4--,a ,,foolish        
,,opinion ,,and ,,impertinent           
,,answer--,i ,,defy ,,the ,,law         
,,that ,,prohibits ,,eating4      ,i ran
 home with all speed1 elated and full of
 enthusiasm1 to tell my  wife of the    
charming proposal of ,count ,benino4 ,my
 wife1 poor soul1 could  not understand 
all this delight1 this vehemence and    

excitement1 in  praise of that kind     
gentleman2 and without saying it1 she   
made me  understand that she should have
 greatly preferred my continuing as a   
wood-carver1 without troubling myself   
about an art which hitherto had  only   
given me disappointment and worry4 ,with
 her eyes she seemed to say  to me1     
,don't bother yourself1 ,nanni1 about   
it4    ,i looked about to find a studio1
 and took one in the ,niccolini         
buildings in ,via ,tedesca1 now ,via    
,nazionale4 ,i ordered two large        
modelling-stands--one for the living    
model1 the other for the statue in      
clay4 ,a standing statue he will not    
make1 they said2 but ,i will make  it1  
and in movement too4 ,the idea of ,cain 
came at once into my head4  ,cain1 the  
first homicide1 fratricide6 ,a fierce   
and tremendous subject1  and one of     
great difficulty4 ,i made the sketch1   
and it seemed to me that  ,i had divined
 the movement and expression4 ,among the
 artists1 it was  soon known that ,i had

 taken a new studio to make another     
statue4 ,those  who had laughed at      
first1 laughed no longer4 ,my friends   
encouraged me1  and added fuel to the   
fire4 ,i had also some offers for the   
,abel--insufficient if you will1 but    
enough to encourage me4 ,among the      
others ,i accepted that of ,signor      
,lorenzo ,mariotti1 an agent of the     
,russian ,government1 who lived in his  
own house in the ,piazza ,pitti4 ,he    
came to see me1 and said that he should 
like to order the statue of  ,abel1     
whenever ,i would make it1 for what it  
cost me1 and when it was  done he would 
help me to sell it4 ,the expenses were  
calculated at #hjj  scudi2 and he       
offered me this price1 with the         
understanding that  whatever sum it was 
sold for above the #hjj scudi1 should be
 divided  between us4    ,sidenote3     
,,model ,,of ,,cain4    ,the marble was 
procured1 and ,i was already modelling  
with ardour the  statue of ,cain4       
,fortunately the ,grand ,duchess ,maria 

of ,russia1 daughter  of the ,emperor   
,nicholas1 was passing through          
,florence4 ,she had already  heard the  
discussion1 pro and con1 which this     
statue had raised4 ,she  wished to see  
it1 and was so well pleased by it that  
she did not conceal  her delight4 ,she  
was in company with her husband1 the    
,prince of  ,leuchtenberg4 ,they went   
into my private studio and saw the      
,cain1 only  just begun4 ,she exchanged 
some words with the ,prince1 and he was 
much  pleased1 and embraced me4 ,then   
the ,grand ,duchess1 pressing my hand1  
said1 ,the ,abel and the ,cain are mine4
 ,then they departed4 ,when ,i went     
home and told the good news to my wife1 
it seemed as if she had a little  more  
faith in what ,i was so convinced       
of--viz41 my future career as an        
artist4    ,sidenote3 ,,prince ,,of     
,,leuchtenberg4    ,for the rest of the 
time that the august ,prince and        
,princess were in  ,florence1 he never  
omitted to pass some half-hours of the  

morning in my  studio1 because he liked 
so much to see me at work4 ,he spoke    
,italian  extremely well1 and it amused 
him to talk with my model ,antonio      
,petrai  on various subjects2 and as he 
was such a strong and well-made fellow1 
one day he asked him if he would like to
 measure his strength at  fisticuffs    
with any one2 and ,petrai--who knew well
 enough who it was who  asked the       
question1 and was embarrassed about     
making a proper  reply--after much      
hesitation could only say ,aho6 upon    
which the ,prince  laughed heartily and 
gave him something4    ,who would have  
thought that such a handsome youth1 so  
tall1 squarely  built1 and so spirited1 
would have died only a few years later  
of an  insidious disease8 ,he was the   
son of ,prince ,beauharnais1 ,viceroy of
  ,italy in the troublous times of      
,napoleon ,i4 ,one day he came and      
carried  me away from the studio1       
because he wished to see with me the    
statues  which ornament our ,piazza     

della ,signoria and the ,loggia of      
,orsanmichele2  but first he would go to
 ,doney's to breakfast4 ,as soon as we  
were  seated1 he ordered caviale4       
,caviale6 answered the waiter1 we have  
none4 ,bring caviale1 said the ,prince1 
sharply2 but before the  servant could  
reply he made a sign to the master1 who 
was at the desk1  and he knocked loudly 
on the marble to call the waiter back4  
,after a  little while a magnificent    
plate of caviale was served4 ,i wish to 
note  this anecdote1 as it depicts the  
courteousness1 affability1 and          
popularity of this ,prince1 who1 though 
he had married the daughter of  the     
,emperor of ,russia1 had not forgotten  
that he was born and educated  in       
,italy4    ,sidenote3 ,,commission ,,for
 ,,cain ,,and ,,abel4    ,in the        
meantime1 ,mariotti1 by order of the    
,grand ,duchess1 made the  contract for 
the two statues1 ,cain and ,abel1 and   
the price fixed for the  ,abel was #aejj
 scudi1 and for the ,cain #bjjj scudi4  

,the contract which  ,i had made with   
,mariotti was torn up1 and ,i gave him  
out of my first  receipts the sum he had
 given me2 but as to the remainder1 the 
#gjj  scudi1 which was to be divided    
between us1 he would not receive it1    
saying that the ,grand ,duchess had     
already paid him enough4 ,and this1 for 
,mariotti1 whom they call mangia-russi1 
was a good action4    ,in the meantime  
the good ,count del ,benino lent me a   
considerable sum of  money to pay the   
rent of my studio1 for the modelling    
stands and tools1  and for the models1  
as also the daily sum ,i carried home   
for household  expenses4 ,this was all  
registered in a book1 with the sums1 the
 dates1  and my name signed in receipt4 
,and all this together came to the      
amount  of about #ajj scudi4    ,now    
that ,i had two good commissions1 and   
the relative advances on them1  ,i went 
to ,palazzo del ,benino1 this time to   
pay rather than receive1 and  therefore 
with lighter and freer spirit4 ,i was   

anxious to cancel this  debt1 which     
weighed upon my mind like an incubus1   
which ,i had felt was  increased and    
renewed every time ,i was forced by     
necessity to ask for  more money2 and   
poor ,del ,benino1 who perceived my     
reluctance1 encouraged  me1 and made me 
feel that it was indifferent to him     
whether he gave more  or less1 trying to
 distract me while he counted out the   
money4 ,but this  time1 as ,i have said1
 ,i was gay and light-hearted1 and      
caused my name to  be announced by the  
servant in a loud voice3 in short1 ,i   
was in bearing  and in words slightly   
proud4    ,sidenote3 ,i ,,offer ,,to    
,,repay ,,del ,,benino4    ,the ,count  
was seated writing in his usual place4  
,he put down his pen1  and staring at me
 with his blue eyes1 said1 ,sor         
,giovanni1 welcome6 ,i am  delighted to 
see you4 ,what charming thing have you  
to tell me8 ,yes1 what  can you tell me 
that ,i do not already know8 ,to begin1 
then1 ,i  congratulate you truly--truly4

 ,you see1 this is for me a new         
satisfaction3 you cannot imagine the    
pleasure ,i feel in now seeing  certain 
faces cloudy and sad which a few months 
ago were bursting with  laughter4 ,and  
,i divert myself very much playing the  
ignoramus with them1  saying1 ',then it 
appears that this youth is going        
straight ahead1 per  ,bacco6' ,the      
,abel6 that stands for what it is--,i   
mean to say1 that if  the artist has    
cast it from life1 as you say1 the      
,grand ,duchess ,maria  has caught a    
fine crab2 but the ,cain6 that is       
scarcely begun1 and they  tell me that  
she has seen it only in the clay1 and   
liked it1 and given  the order for it1  
and other like things2 for the desire to
 torment them  does not fail me1 and    
they were much teased and molested by my
 bitter  words1 which ,i pretended not  
to mean and ran on4 ,so ,i have diverted
  myself1 and so ,i will divert myself4 
,now1 then1 again ,i congratulate  you4 
,and now tell me if ,i can do anything  

for you4 ,i am at your  service4        
,signor ,conte1 ,i have come to repay   
the money which you have lent me1  with 
so much generosity and kindness1 to     
enable me to make my new model  of      
,cain1 which1 ,god be thanked1 has so   
much pleased the ,grand ,duchess4  ,if  
,i had not already begun this1 she could
 not have seen it2 and who  knows if she
 would have taken the risk to order even
 the ,abel8 ,i feel1  but cannot express
 all the importance of your valuable    
aid4 ,this aid1 so  timely1 has been for
 me a second life1 without which1 who   
knows what  would have become of me1    
discouraged1 despised1 and probably     
deserted by  those who now cry out1     
',beautiful1 beautiful6' ,here am ,i1   
then1 to  thank you cordially1 and to   
return the money ,i have borrowed4      
,while ,i  was speaking the ,count      
gradually lost that gay and lively      
expression  which was habitual to him1  
and at my last words looked at me with  
an  expression of seriousness and regret

 that ,i knew not how to interpret4     
,then he said--    ,sidenote3 ,,count   
,,del ,,benino ,,refuses ,,repayment4   
,there is time enough for this2 don't be
 in such a hurry4 ,this is only  the    
beginning2 a thousand things may occur1 
and it will do you no harm  to have a   
little money in the house4 ,on the      
contrary1 it may be  convenient4 ,now   
think of study and your reputation2 and 
to pay your debt  to me there is time   
enough4    ,listen1 ,signor ,conte3 ,i  
have come here on purpose1 and have     
brought the  money4 ,i do not need it   
for the present4 ,let me pay this       
material debt2  that other great moral  
substantial debt1 the infinite good you 
have done  me1 ,i can never repay1 and  
never should wish to4 ,the ,count grew  
even  more earnest and serious4 ,he held
 the paper of our accounts mechanically 
in his hand1 and tried to prove to me   
that there was time enough1 and  that ,i
 should keep the money2 but seeing that 
,i insisted1 and held out  my hand for  

the papers to see the sum due1 drew it  
back with vivacity1  and with flashing  
eyes said to me--    ,oh1 leave me1 dear
 ,sor ,giovanni1 this satisfaction4     
,he tore up the paper and threw it in   
the basket4 ,i was mortified1 and  had  
half a mind to be offended1 but the kind
 expressions of this  excellent man     
prevailed4 ,he took my hand and pressed 
it between his1  saying--    ,don't take
 it amiss1 but leave me the consolation 
that ,i have been able  to assist1 even 
in the least degree1 in the sale of your
 work--as you  say1 opened for you a    
future which ,i hope may prove full of  
honours4  ,and moreover1 you must know  
that it has always been my firm         
intention  to assist you until the road 
was open and easy before you4 ,i did not
 at  once open my mind to you1 because  
then1 perhaps1 you would not have       
accepted the offer2 therefore ,i said1  
you will sign the contract1--and  in    
good time you will pay4 ,now you have   
really paid me1 because that  small sum 

of money has secured your future and    
given me a great  satisfaction4         
,sidenote3 ,,idealists ,,and            
,,academicians4    ,it is necessary now 
for me to touch upon a question vital to
 art1 and  which was being agitated just
 at the time ,i was modelling the ,abel4
 ,this  work served to inflame it1 and  
to encourage as much one side as the    
other--that is1 either the idealists or 
the academicians in opposition  to      
,bartolini1 who1 while he was not       
naturalistic in the strict sense of  the
 word1 proposed to introduce this       
principle into his teaching by bold     
innovations4 ,it is necessary for me to 
speak of this1 inasmuch as this  dispute
 and my statue served as the target for 
the shots of one as well  as the other  
parties1 and had the effect of          
estranging ,bartolini from              
me--although1 as we shall see later1 it 
was another and less justifiable  cause 
that made the great sculptor indignant  
with me4    ,when ,stefano ,ricci1      

,master of ,sculpture in the ,royal     
,academy1 died1 it  was wisely decided  
to call ,lorenzo ,bartolini to his place
 7this was a  little before ,i modelled 
the ,abel71 and ,bartolini took         
possession of the  school with the air  
of a conqueror4 ,various were the causes
 for his  extremely overbearing conduct4
 ,first1 the opposition his demands     
encountered on the part of the          
,president and others of the ,academy2  
then  his before-mentioned principles of
 reform1 diametrically opposed to  those
 now taught in the school2 also1        
finally1 the heated political and       
religious opinions1 which were discussed
 with little charity on either  side4   
,he altered everything1 theories and    
systems4 ,the position of his           
assistant1 ,professor ,costoli1 was     
unpleasant2 but he was obliged to       
remain4 ,he prohibited all study from   
statues1 and restricted the whole       
system of teaching to an imitation only 
of nature2 and he pushed this  principle

 so far1 that he introduced a hunchback 
into the school and  made the young     
students copy him4 ,this daring novelty 
raised a shout of  indignation3 they    
cried out against the profanation of the
 school1 of  the sacred principles of   
the beautiful1 c42 said that he was     
ignorant  of his duties as master1 and  
that he misled the youths1 extinguishing
 in  them the love of the beautiful by  
the study of deformity2 and many other  
accusations of this agreeable sort1 in a
 freer and more pointed style  than     
mine4    ,sidenote3 ,,imitation ,,of    
,,nature--,,the ,,hunchback4    ,neither
 was ,bartolini the man to allow this   
deluge to fall upon his  head1 which1   
together with much that was true1       
carried with it a torrent  of errors and
 unreasonable absurdities4 ,as he       
understood well the clever  use of the  
pen1 he launched forth certain articles 
so stinging and  cutting that they were 
delightful4 ,the ,abb ,chiari and the   
,abb ,vicini  were treated by old       

,baretti with distinction as compared   
with the  treatment ,bartolini gave the 
,anonymous ,society of the ,via del     
,cocomero4  ,i recollect one of the     
foolish arguments raised by his         
detractors  against ,bartolini1 which   
was so ingenuous that it showed in its  
author  more emptiness and smallness of 
mind than cleverness or bad faith4 ,this
  is what he said3 ,the expert gardener1
 by means of his art1 transforms a      
forest which is rough and horrid1 as    
nature made it1 into a beautiful  grove1
 by rooting out plants1 opening alleys1 
pruning into a straight  line the       
projecting branches1 c4 ,how much this  
comparison of the grove  to the human   
figure diverted ,bartolini is not to be 
told4 ,i have not  before me his sharp  
stinging words1 and ,i do not wish to   
spoil them by  repeating them from      
memory1 but to me he appeared to be as  
pleasant and  brilliant a writer as he  
was admirable as an artist4             
,sidenote3 ,,bartolini',s ,,views ,,and 

,,character4    ,this dispute was       
rekindled1 as ,i have said1 on the      
appearance of my  ,abel4 ,i do not      
remember by which side was first        
pronounced my name and  my work1 but    
certain it is that ,bartolini said that 
the most convincing  proof of the       
excellence of his method was precisely  
the ,abel1 which  statue was made by a  
youth who knew nothing of ,phidias or   
,alcamenes1 nor  of the others--who had 
not breathed the stifling air of the    
,academy--that he had trusted himself to
 beautiful nature1 and that he  had     
copied her with fidelity and love4      
,after this there was fresh  sarcasm    
against him and his system of copying   
nature1 even when  deformed1 c4 ,added  
to this1 there were long-winded eulogies
 on my work1  and ,i could see that     
these were advanced merely to put this  
man in bad  humour4    ,he had taken a  
dislike to me1 and wished to tell me so4
 ,he sent his  father-in-law1 ,dr       
,costantino ,boni1 to summon me4 ,i     

went1 and when ,i  arrived he received  
me in the great ante-room1 and said to  
me1 with his  usual striking bluntness1 
,i have sent for you to tell you that ,i
 do not  wish to see you again4 ,how    
astounded ,i was by these words you can 
imagine who know the veneration and     
affection ,i had always felt for this   
celebrated master2 and ,i could only    
reply--,why8    ,why6 ,you have no more 
need of me1 nor ,i of you2 stay in your 
own  studio1 and don't come any more to 
mine4    ,it appeared to me so strange1 
not to say unreasonable1 that he should 
send for me to tell me not to come to   
him1 that ,i could not do less  than    
reply that ,i had come to his studio    
because he had sent for me1 and  that ,i
 was very sorry to be forbidden to      
return1 as ,i always wished to  learn4  
,sidenote3 ,,bartolini ,,refuses ,a     
,,reconciliation4    ,no matter1 replied
 he2 you understand--each one for       
himself1 and  this he said in ,french4  
,because you must know1 that when he was

 excited  he preferred that language    
either for speaking or writing4         
,notwithstanding this1 the next year1 as
 ,i wished for a                        
reconciliation1--having made the model  
in clay of the ,giotto1 which ,i  wanted
 to try in the niche of the ,uffizi1 to 
hear the opinion of my  friends about   
it1 and to correct it where it was      
necessary1 before its  execution in     
marble1--,i wrote to ,bartolini begging 
him to come to see my  statue in its    
place to give me his authoritative      
opinion4 ,he replied in  a manner       
specially his own--,i might almost say  
with his own brutal  sincerity1--that   
which distinguished him from his sugared
 and often  hypocritical contemporaries4
 ,he could not deceive2 he held me in   
aversion1 and he wished me to know it1  
not by his silence1 but by a  letter4   
,here it is3 ,dearest1 the thing which  
above all things ,i like in  this world 
is to see the races in the ,cascine2 but
 as ,i have so much  work which prevents

 me1 just imagine if ,i shall come to   
see your  statue8    ,observe1 ,i do not
 say that ,i expected precisely such a  
reply1 and ,i was  a little stung by it2
 but ,i understood him1 and really liked
 it better  than if he had made an      
excuse and told a lie4 ,all men should  
be true to  themselves4 ,bartolini was  
still angry with me1 as ,i found out    
afterwards1 because1 in the discussion  
about the hunchback1 my name  being     
brought forward1 ,i did not enter into  
its defence4 ,in fact1 if a  similar    
discussion were now to arise on this    
subject1 it would seem to  me cowardly  
to draw back and not clear up a point of
 controversy of the  greatest           
importance2 but then1 being young and a 
beginner1 how could ,i  presume to offer
 my support to ,bartolini8 ,would it not
 appear  pretentious in me even to      
assume to be the defender of so great a 
master8 ,it seemed to me so then1 and it
 seems so now4 ,let it not be  thought  
that ,i did not do this while arguing   

with my artist friends2 it  was quite   
otherwise1 and this was the way in which
 ,i drew upon myself  their ill feeling 
and dislike4 ,and the defence of the    
,bartolini system  which ,i then made   
was in a much more absolute sense than  
that which ,i  now make2 for while ,i   
see that ,bartolini was right in        
carrying back art  to its first         
source--that is 7and we should thank him
 for that71 to the  imitation of        
nature--he went beyond bounds in        
proposing a deformed  person as a model4
 ,it is very true that ,bartolini never 
affirmed1 as his  enemies assert1 that a
 hunchback was beautiful4 ,he said that 
it was as  difficult to copy a hunchback
 well as a well-formed person1 and that 
a  youth ought to copy as faithfully the
 one as the other2 and when the eye  had
 been educated to discover the most     
minute differences in the  infinite     
variety of nature1 and the hand able to 
portray them1 then1 but  only then1 was 
the time to speak1 and select from      

nature the most  perfect1 which others  
called the bello ideale1 and he the     
bello  naturale4 ,but that blessed      
hunchback still remains1 who1 in the    
strict  sense of the word1 is not the   
real truth2 for in what is deformed     
there  is something deficient1 which    
removes it from the truth1 however      
natural  it may be4 ,it is a defect in  
nature1 and therefore not true to       
nature4    ,sidenote3 ,,bello           
,,ideale--,,bello ,,naturale4    ,but it
 happened then as it happens always3 the
 reform of ,bartolini and  the dogmas of
 the academicians never came to an end4 
,they might have  confined themselves to
 the indisputable principle that one    
should  imitate life in its infinite    
scale of variety1 avoiding always       
deformity4 ,but once they had begun with
 the meagre child1 the adipose  old man1
 the lean or flabby youth1 they went on 
through thick and thin4  ,it would not  
have been so bad had they really        
appreciated what ,bartolini  meant to   

say1 and that is1 that copying anything 
was very well as a  mere exercise and   
means of learning one's art--or1 to use 
his  expression1 of holding the reins of
 art2 but the misfortune was1 that  some
 took the means for the end1 and so went
 wrong4    ,sidenote3 ,,copying ,,of    
,,antique ,,statues4    ,but            
nevertheless1 this ,bartolinian reform  
was of great advantage4 ,let us         
remember how sculpture was then studied4
 ,the teaching of ,ricci was only  a    
long and tedious exercise of copying    
wholesale the antique statues1  good and
 bad2 and what was worse1 the criterion 
of ,greek art was carried  into the     
study of nude life--the characteristic  
forms of the antique  statues           
supplanting those of the living model4  
,the outlines were added  to and cut    
away with a calm superiority1 which was 
even comical4 ,the  abdominal muscles   
were widened1 the base of the pelvis    
narrowed1 in  order to give strength and
 elegance to the figure4 ,the model was 

never  copied2 the head was kept        
smaller1 and the neck fuller1 so that1  
although the general effect was more    
slender and more robust1 the  character 
was falsified1 and was always the same1 
and always  conventional4 ,this         
restriction of nature to a single type  
led directly  to conventionality2 and   
once this direction was taken1 and this 
habit of  working from memory1 following
 always a pre-established type1 the     
artist  gradually disregarded the       
beautiful variety of nature1 and not    
only did  not notice it1 but held it in 
suspicion1 believing that nature is     
always  defective1 and that it is       
absolutely necessary to correct it2 and 
in  this1 they said1 lies the secret of 
,art4 ,and yet ,bartolini cried aloud1  
and1 so to speak1 strained his voice to 
make himself understood1 and  stood up  
on a table and beat his drum for the    
hunchback4 ,but as soon as  a sufficient
 number of people is collected to make a
 respectable  audience1 one must lay    

aside the great drum and begin to speak 
seriously4 ,and this is just what the   
maestro did3 he gave up the  hunchback1 
inculcated the imitation of beautiful   
nature in all its  varieties of sex1    
age1 and temperament4 ,but1 in the ears 
of the greater  number of persons the   
beat of the great drum still sounded1   
and the  words of ,bartolini were not   
understood4 ,from that time to this     
there  have been no more statues of     
,apollo1 ,jove1 and ,minerva4 ,chased   
from this  earth1 they returned to their
 place on ,olympus--and there they still
  remain4    ,sidenote3 ,,how ,,far     
,,nature ,,is ,,to ,,be ,,copied4       
,still the seed of deformity had been   
sown1 and struck strong roots4  ,there  
are some men who grub in filth and dirt 
with pure delight1 and  have for the    
ugly and evil a special predilection1   
because1 as they say1  these are as true
 representatives of nature as what is   
beautiful and  good1 and are in fact a  
particular phase of that truth which1 as

 a  whole1 constitutes the truly        
beautiful4 ,and reasoning thus1 this    
school1  or rather this coterie1 has    
given us1 and still gives us1 the most  
strange and repulsive productions1      
improper and lascivious in subject1  and
 in form a servile copy of such         
offensively ugly models as ,mother      
,nature produces when she is not well4  
,what would you say1 dear reader1  if   
you were ever to see a hideous little   
baby1 crying with his ugly  mouth wide  
open1 because his bowl of pap has fallen
 out of his hand8 or  an infamous and   
bestial man1 with the gesticulations    
expressive of the  lowest and most      
vicious desires8 or a woman vomiting    
under a  cherry-tree because she has    
eaten too much8 or other similar        
filthinesses of subject and imitation1  
which are disgusting even to  describe8 
,for myself1 ,i am not a fanatic for    
ancient ,art3 on the  contrary1 ,i      
detest the academic and conventional2   
but ,i confess that1  rather than these 

horrors1 ,i should prefer to welcome    
,cupid1 and ,venus1  and ,minerva1 and  
the ,graces1 and in a word all ,olympus4
 ,but1 good  heavens6 is there no       
possibility of confining one's self     
within limits8  ,and if we abandon      
,olympus and its deities1 is it         
necessary to root and  grub in the filth
 of the ,mercato ,vecchio and in the    
brothel8    ,sidenote3 ,,model ,,of     
,,beatrice ,,portinari4    ,now we will 
return to our story4 ,at the time ,i was
 modelling the ,cain1  and as it were   
for the purpose of repose1 ,i made a    
little figure of  ,beatrice ,portinari1 
which ,i afterwards repeated in marble1 
,i know not  how many times4 ,for this  
statue ,i had used as a model a         
tolerably pretty  young girl who was    
named likewise ,portinari4 ,i tell this 
little story  for the instruction of    
young artists4 ,there will even be two  
of these  stories1 for ,i omitted one in
 speaking of the ,cariatidi of the      
,rossini  ,theatre2 and these little    

matters show how one should treat the   
model4  ,one morning1 when ,i had the   
,portinari for a model1 the curate      
,cecchi of  the ,santissima ,annunziata 
knocked at my door and told me that he  
wished  to come in to have a few words  
with me4 ,i replied that for the moment 
,i  could not attend to him1 as ,i had a
 model1 but that if he would have the   
goodness to come back a little later1 we
 should then be alone1 and he  could    
speak to me at his ease4 ,after dinner  
he returned1 and said1 ,have  you a     
certain ,portinari for a model8    ,yes1
 ,i said4    ,then you must know that   
this girl is engaged to my nephew2 and  
as ,i  have learned that she comes to   
you as a model1 and as ,i absolutely    
will  not allow my nephew to marry a    
model1 ,i have already so told the girl1
  and she denies that she comes to you4 
,now ,i beg that you will do me the     
favour to let me come in when she is    
here4 ,i will then surprise her1 and    
blow into the air this marriage arranged

 with my nephew4    ,sidenote3 ,a       
,,model ,,and ,,her ,,lover4    ,listen1
 ,i said4 ,this sort of thing ,i do not 
like4 ,i cannot lend  myself to do an   
injury of this kind to this poor girl1  
who comes here to  be my model4 ,she has
 confided to me that she is in want of  
money1 having  larger demands than her  
daily earnings will supply4 ,she has    
said nothing  about her being engaged1  
in which case ,i would not have employed
 her  unless her mother or other near   
relation came with her4 ,but1 since it  
seems to me reasonable that you should  
not wish your future relation to  go out
 as a model1 ,i will promise you not to 
so employ her any more2 and  the first  
time she comes1 ,i will tell her that ,i
 do not want her again1  and ,i will    
warn her not to go to others4 ,are you  
content8    ,he seemed to be tolerably  
well satisfied1 and ,i did as ,i had    
promised4    ,here is the other little  
story of the model of the ,cariatidi4   
,every  morning there came to me as a   

model a girl who lived in the ,prato1   
and  was a weaver4 ,the first morning1  
she came to the studio with a  subbio4#e
 ,i took no notice of it2 but the second
 and the third1 as  well as the fourth  
time1 she had always under her arm this 
clumsy and  heavy thing1 so ,i asked    
her--    ,why do you carry about that   
subbio8     #e ,weaver's beam4    ,she  
answered3 ,i have a lover4 ,if ,i meet  
him in the street1 ,i tell him  that ,i 
am going to my employers4    ,what      
occupation has your lover8    ,he is a  
butcher4    ,ah6 thought ,i4 ,look here1
 you must do me the favour to bring your
  mother with you when you come again4  
,the mother cannot leave her work4      
,then bring some one else2 one of your  
relations1 or a lodger--at all  events  
some one4 ,i will not have you here     
alone4    ,i had scarcely spoken these  
words when ,i heard a knock at the door4
  ,hark6 it is your lover who knocks1 ,i
 said1 as a joke4    ,i went and opened 
the door1 and found there a sturdy youth

 as red as a  lobster4    ,who do you   
want8 ,i asked4    ,are you the painter8
    ,no1 ,i am not a painter4           
,nonsense6 let me come in4 ,you have got
 ,anina in there to paint4 ,i want  to  
have one word with her1 and will go away
 at once4    ,and ,i tell you that you  
don't know what you are talking about4  
,if you take it so1 he said1 let me come
 in2 and he pushed the door  with all   
his force4    ,i1 who had been warned1  
was ready with all my strength1 and shut
 the  door in his face4 ,i went back    
into the studio1 and found the girl1    
who1  only as yet half dressed1 was     
trembling like a leaf4 ,i crossed the   
court  of ,palazzo ,borghese1 and opened
 carefully the door which gave upon the 
,via ,pandolfini1 and made signs to the 
girl to follow me4 ,i looked out on  the
 street to make sure that the youth was 
not there1 and said to the  girl        
hastily1 ,go away1 and don't come back  
to me1 even if you are  accompanied by  
some one4    ,the young man stayed in   

the ,via del ,palagio1 and walked up and
 down for  some hours before my door2   
but ,i saw no more of him1 and know     
nothing  more4 ,the conclusion3 girls as
 models--never alone4    ,sidenote3     
,,subscription ,,for ,,the ,,abel4    ,i
 return to where ,i left off--to the    
,cain4 ,there was in ,florence at that  
time a certain ,english lady1 ,mrs      
,letitia ,macartney1 who had been living
  for some time in ,siena4 ,she wished  
so much to see the ,abel reproduced in  
marble1 that on her return to ,siena she
 issued a paper which invited the       
,sienese to make a subscription for this
 purpose4 ,i have before me that  paper1
 dated #abth ,december #ahdb1 a few days
 before the ,grand ,duchess of  ,russia 
had given me her commission4 ,this      
invitation to my townsmen had a  great  
success1 for in a few days sheets were  
covered with signatures1  among which   
all classes figured--beginning with the 
,governor ,serristori1  the ,archbishop1
 the clergy1 the university1 the gentry1

 and the people1  and finally the       
religious corporations4 ,certainly1 that
 excellent lady  could not have had a   
better result from her touching appeal1 
which ran  as follows3 ,i beg the       
,sienese not to reject my humble        
petition1 and  that the poor as well as 
the rich1 whoever reads these words1    
will put  his signature1 and will       
contribute a half paul to assist his    
townsman1  who has so well proved that  
he deserves encouragement4 ,those who   
wish to  give more than the small       
proposed sum can privately satisfy their
  generous impulses in the way they     
think best1--on this paper they are     
begged not to exceed the sum named4 ,and
 by half pauls only1 the not  small sum 
of #ajj scudi was collected2 and if this
 good lady had added  that the half paul
 was to be paid every month for a year  
or fourteen  months1 ,i am sure that my 
townsmen would not have refused it1 and 
that  the ,abel would be to-day at      
,siena4    ,the sum of money and the    

list of subscribers were sent to me1 and
 ,i  preserve the latter jealously2 and 
after these many years ,i read over  the
 names with heartache1 thinking how all 
these have disappeared1  together with  
the good ,signora ,letizia4 ,and now ,i 
am speaking of her1 ,i  will mention    
something which will cause her to be    
appreciated and loved1  even as ,i loved
 and admired her4    ,sidenote3 ,,mrs   
,,letitia ,,macartney',s ,,kindness4    
,a short time after she had issued the  
appeal for my ,abel1 she came with  a   
nephew and her two sisters to establish 
herself in ,florence4 ,she was  about   
fifty years of age1 enthusiastic for the
 beautiful wherever she  found it4 ,she 
had a small gallery of ancient pictures 
which she had  collected with careful   
study in her wanderings through ,italy4 
,she had  taken an apartment in the     
,piazza di ,santa ,maria ,novella1 and  
,i often  went there with my wife to    
pass the evening2 and on her part the   
,signora  ,letizia often came to look me

 up in my studio4 ,she liked to discuss 
with  me artistic things1 and when ,i   
could not attend to her1 she said       
good-bye and went away4    ,then it was1
 either from too hard work or on account
 of the dampness of  the room in which  
,i worked1 or both together1 ,i took so 
tiresome and  obstinate a cough1 that it
 gave me no peace night or day4 ,i tried
 many  things to get rid of it1 and all 
in vain--decoctions1 ass's milk1 care1  
all were useless4 ,la ,signora ,letizia 
having urged me a thousand times to     
take care of myself and to get rid of   
that cough1 said to me so  seriously    
that it made me laugh--    ,it is       
absolutely necessary for you to get     
well4    ,bravo6 ,i said2 that is what  
,i have been thinking of for the past   
month1 and ,i have done everything for  
that purpose--the advice and            
prescriptions of the physicians have not
 been neglected2 but now  seriously ,i  
must get well--,go away1 cough6    ,no1 
don't joke2 you must get well1 and ,i   

mean to cure you4 ,listen1 she  said1   
what you ought to do3 you should buy a  
quantity of pine-wood1  and with this   
line all the walls of your studio from  
top to bottom1  leaving space between   
the wood and the wall2 and you must do  
the same  for the floor4 ,have the      
window open some hour of the day when   
you are  not in the studio1 that the    
current of air may not do you harm4     
,sidenote3 ,,she ,,lines ,,the ,,studio 
,,walls4    ,it seemed an odd thing to  
me4 ,i could not understand what all    
this wood  had to do with my cough2 but 
to content her1 ,i said that ,i would do
 as  she advised4 ,in the meantime ,i   
continued to cough in spite of the pot  
of  lichen which ,i kept hot in my      
studio2 and every day when this poor    
lady  came to see me and saw that her   
advice was not followed1 she appeared   
serious and disappointed1 and finally   
said--    ,do you think1 ,signor ,dupr1 
that my advice could do you harm8       
,certainly not1 ,i said4    ,then why   

don't you follow it8    ,i must wait a  
few days2 just at present ,i cannot4    
,but ,i will do it--of  this you may be 
sure2 and ,i am very grateful to you3 it
 seems to me that  it will be more      
comfortable and warmer4    ,she soon    
went away1 and ,i seriously considered  
that ,i ought to try and  content her1  
not that ,i thought the remedy          
effective4 ,i said to  myself--,my      
trouble is either a cold or something   
else2 it is in the  stomach1 or the     
throat1 or the bronchial tubes1 and     
surely is not owing  to the walls of my 
studio4 ,but what shall ,i do8 ,i must  
satisfy her4  ,certainly it will cost   
something to line all the studio with   
wood from  top to bottom1 and the floor2
 but what a strange idea has come into  
this  lady's head1 and with what        
seriousness and impressiveness she urges
 me  to use pine-wood6    ,shortly      
after1 ,i heard a knock at the door and 
saw three or four loads  of boards in   
the street4 ,the head carter said to    

me--    ,is this wood to come here8     
,sidenote3 ,,my ,,studio ,,is ,,lined4  
,i had ordered no wood1 ,i replied4     
,then he showed me a card on which was  
written my name and the number of my    
studio1 and added--    ,this wood has   
been ordered and paid for1 including the
 carriage1  and--is it to come here8    
,certainly1 ,i said1 it is to come here4
 ,it was unloaded1 and ,i gave  the men 
a little money1 for although they had   
been paid1 it would do  them no harm4 ,i
 sent immediately to call ,petrai1 who1 
besides being a  model1 was also a      
carpenter1 and told him that ,i wished1 
in the quickest  possible manner1 to use
 this wood to line the studio walls and 
plank the  floor2 that he was to employ 
as many men as were necessary1 and that 
they could not go to bed until this work
 was done4    ,the blacksmith was       
immediately set to work on the irons    
which were to  support the boards1 the  
mason to fasten them to the walls1 and  
men to  saw and nail4 ,all the day and  

all the evening it appeared to be the   
devil's own house1 and ,i was in the    
midst directing and overseeing the      
work4    ,the next morning1 when ,i     
entered my studio1 ,i felt revived by   
the odour  of the pine and the air so   
sensibly dry1 and ,i said1 ,if this work
 does  no good to the cough1 no matter2 
but it is certain that ,i find myself   
much better4 ,besides1 ,i like the      
colour of the wood1 which is gay4 ,i    
like the smell of the pine4 ,the floor  
is better to walk upon1 and it is  drier
 than any carpet4 ,the air circulates   
everywhere4 ,viva ,mrs  ,letitia6 ,and  
now1 how to repay her for this wood     
which she has bought  for me8 ,ah6 this 
is not so easy4 ,to talk of giving back 
the money is  useless1 and it would also
 be in bad taste1 for ,i know how       
sensitive  this lady is2 but as a       
present ,i will not receive it4 ,as it  
happened1 ,i  had a small bust of       
,beatrice in marble1 which she had      
always admired4 ,i  sent this to her    

house1 and she was so much pleased that 
she never  ceased to speak of it to me4 
,and the cough8 ,the cough diminished   
day by  day as if by enchantment1 and in
 a week ,i was perfectly cured4         
,sidenote3 ,,busts ,,of ,,beatrice ,,and
 ,,raphael4    ,whilst ,i am speaking of
 favours received and the manner in     
which ,i  requited them1 independent of 
the sentiment of gratitude which ,i     
always  preserve for those who have     
rendered me a service1 ,i must add that 
,mrs  ,macartney was pleased with the   
little bust of ,beatrice2 so also was   
,del  ,benino more than delighted with a
 bust in marble of the boy ,raphael     
which ,i had copied from a painting by  
his father1 ,sanzio1 who had  painted   
the little boy when six years of age4   
,at the bottom of this  portrait was    
written in red1 ,raphael ,santii d'anni 
sei1 ,santii patre  dipinse4    ,i saw  
this work of mine only a few years ago  
in the palace belonging to  the heirs of
 ,count del ,benino4    ,as ,i have     

alluded to that excellent man--of whom1 
as you see1 ,i retain  such an          
affectionate remembrance--,i will       
mention that ,i asked permission  of his
 heirs by letter to be permitted at my  
own expense to make a  little memorial  
of him in marble1 and to place it in the
 chapel of the  villa where ,del ,benino
 was buried2 but ,i have never received 
any answer4    ,it appears that works   
either for love or money are not wanted4
 ,here is  another example of this4 ,it 
must be now four or five years since the
  lamented ,professor ,g4 ,b4 ,donati1  
the astronomer1 came to my studio with  
the engineer ,del ,sarto1 to tell me    
that the commune of ,florence intended  
to place a sun-dial on one side of the  
,ponte alla ,carraja1 exactly at  the   
beginning or end of the terrace1 where  
there is at present a kiosk2  and in    
order to have an elegant and artistic   
thing1 it came into the  head of        
,donati1 or some one of the ,municipal  
,council of ,art1 to have a  figure in  

bronze holding a disc on which should be
 marked the meridian1  and the hand of  
this figure should be held gracefully in
 such a manner  that its shadow         
indicated the hour4 ,the idea pleased   
me4 ,i made a  sketch1 and ,del ,sarto  
the engineer sent me the exact          
dimensions of the  terrace4 ,he liked   
the sketch1 and asked me what the cost  
of such a work  would be1 adding that   
unless the price was small they would   
not be able  to order it4 ,i replied    
that nothing could cost less than this1 
as ,i  intended to present the model1   
and the ,municipality would only have to
  pay for the casting in bronze4 ,i had 
an estimate made by ,professor          
,clemente ,papi1 who asked a very       
reasonable sum--seven or eight thousand 
lire1 ,i believe2 and he signed a paper 
to this effect1 which1 at the  same time
 with a letter ,i had written repeating 
the offer of my work  gratis1 ,i sent in
 an envelope to the ,municipality3 and  
since then ,i have  heard nothing4 ,poor

 ,donati is dead2 the sketch and the    
model of the  terrace are in my studio4 
,count ,cambray ,digny was then syndic4 
,on ,ponte  alla ,carraja1 in place of  
my statue1 there is a kiosk where       
papers1  wax-matches1 c41 are sold4     
,even this is not the last of the       
statues ,i  have offered as a present   
which have not been accepted1 but ,i    
will not  mention them here4            
,sidenote3 ,,figure ,,for ,a            
,,sun-,,dial4    ,meanwhile1 as ,i was  
finishing the model of ,cain1 the ,grand
 ,duchess ,maria  ,antonietta ordered of
 me a statue for the ,uffizi4 ,i        
selected ,giotto1 and  she presented    
this statue to the ,commission for      
erecting statues of  illustrious        
,tuscans1 which1 while they ornament the
 ,loggia1 serve to  recall past glory   
and to advise one to study more and to  
chatter a  little less4 ,in roughing out
 the statue ,i found a flaw which split 
the  marble in two4 ,i was obliged to   
throw it away and to buy another block4 

,when the good ,grand ,duchess heard of 
this1 she insisted upon repaying me  the
 price of the new marble4 ,i note this  
because so generous an act is  uncommon4
    ,sidenote3 ,,abel ,,has ,,killed    
,,cain4    ,the ,cain was exhibited1    
and1 as was natural1 was less liked than
 the  ,abel1--first of all1 because the 
enthusiasm raised by the former statue  
had too sensibly wounded the self-love  
of many2 and then1 because some  of my  
friends were too zealous1 and their     
excessive praise of it before  it was on
 exhibition created a public opinion in 
its favour which  perhaps was not       
justified by its merits1 for the        
difficulties of the  subject were very  
great4 ,with a phrase more witty than   
just1 they said1  ,this time ,abel has  
killed ,cain2 but ,bartolini1 who       
generally liked  wit1 said this was     
unjust and stupid1 and declared that ,i 
had overcome a  thousand times greater  
difficulties than in the ,abel4 ,but    
that witticism  was prompted by         

suspicion and passion1 and it came from 
those same  persons who said that the   
,abel had been cast from life4    ,being
 proposed by ,bartolini1 ,i was elected 
,professor of the ,academy4 ,at  that   
time1 being invited by some of my       
townsmen1 ,i went to ,siena1 where  ,i  
was received with warmth and fraternal  
love4 ,i was a guest of the             
,bianchis--of that charming ,signora    
,laura who had always been so good to   
my poor mother and my family4 ,that dear
 lady1 and ,carlo1 who is still  alive1 
and ,luigi1 who1 alas6 was too soon     
snatched away from the love of  his     
relations and of ,siena1 rejoiced in    
seeing me made the subject of  honour   
and ovation by all the citizens1 who    
came to the palace to greet  me4    ,i  
remember with emotion that crowd of     
people1 and those deputations of  the   
contrade and academies of the city1 sent
 to bring me salutations  and presents4 
,these were the first flowers that ,i   
gathered and smelt in  the garden of my 

youth2 and their perfume ,i still smell1
 and it is now  perhaps even more       
delightful1 for it is associated in my  
memory with a  time when ,i had no      
remorse4    ,sidenote3 ,,discovery ,,of 
,a ,,raphael4    ,a subscription was    
opened on the spot1 promoted by the     
,cavaliere  ,alessandro ,saracini1 the  
,count ,scipione ,borghese1 the ,count  
,augusto dei  ,gori1 and the ,marquis   
,alessandro ,bichi-,ruspoli4 ,the statue
 which they  ordered was of the ,pontiff
 ,pius ,,ii41 ,eneas ,silvius           
,piccolomini4    ,these four gentlemen  
were good friends of mine2 but ,i saw   
,saracini  oftenest1 as he came to      
,florence on business affairs4 ,he had  
an  intelligent love of ,art1 which he  
practised a little for his amusement1   
and he was ,president of the ,institute 
of ,fine ,arts at ,siena4 ,one day he   
came to me quite breathless4 ,he said   
that he had seen1 in a shop or          
store-house near the ,via ,faenza1 a    
wall all painted over1 and that it  was 

concealed by carriages1 carts1 wheels1  
and poles--in fact1 it was at  a        
carriage-maker's4    ,but what painting 
is it8 ,i asked4    ,i do not know--,i  
cannot say what it is2 but it appears to
 me very  beautiful1 he replied4 ,it is 
like ,perugino1 or certainly of his     
school4    ,wait a moment1 ,i said2 here
 in the neighbourhood is some one who   
understands these things better than you
 or ,i2 and we went to ,count  ,carlo   
della ,porta1 and to ,ignazio ,zotti1   
painters who lived in the  ,niccolini   
building with me4 ,they lost no time1   
and we all four went to  the place4     
,carlo della ,porta having placed a     
ladder against the wall1  mounted1 and  
stayed there only a few moments1 then   
descended1 and made  ,zotti go up4 ,they
 then1 after exchanging some words1     
expressed the  opinion that it was by   
,raphael4    ,the clearing out of this  
place1 and the arguments for and against
 the  decision on the part of the       
,government1 and the ultimate           

destination of  the picture1 are all    
well known1 and ,i pass to other things4
 ,having  finished the ,giotto1 ,i went 
to ,rome to make studies there for the  
statue  of ,pius ,,ii4 ,i stayed there a
 month1 and lived at the ,hotel ,cesari1
  ,piazza di ,pietra4 ,it was the month 
of ,december #ahdd4    ,sidenote3 ,,my  
,,folly ,,at ,,rome4    ,i must confess1
 whatever it costs me1 that the ,eternal
 ,city did not make  the most favourable
 impression upon me2 and except the     
ruins of ancient  ,rome1 the ,colosseum1
 the ,pantheon1 the ,forum1 with its    
triumphal arches  and colonnades1 all   
the rest excited in me no enthusiasm4   
,but ,i must  admit ,i had been spoiled 
by too much praise2 and ,i was so vain1 
that  while ,i accepted everything with 
apparent modesty1 ,i was so puffed up   
internally with pride that at times it  
would show itself in spite of me4  ,i   
remember once at the house of the       
,signora ,clementina ,carnevali1 where  
every evening were to be seen all the   

most distinguished persons in  ,rome1   
either in letters or art1 strangers as  
well as ,italians1--,i  remember1 ,i    
say1 to have replied in a most          
impertinent manner to some  one who     
asked me how ,i liked the monuments and 
the art of ,rome1 and what  above all   
had most pleased me4 ,i replied--and ,i 
blush to repeat  it--,what ,i like best 
is the stewed broccoli--a reply as      
outrageously  stupid as insolent1 and ,i
 wonder that those who heard it could   
have  taken it in good part4 ,for       
myself1 as ,i feel to-day1 if a young   
artist  had replied to me in such a     
manner1 he would have got little good   
out of  it1 and so much the better for  
him6    ,but ,i had better luck2 my     
foolish reply was repeated by every one1
 and  so clouded by vanity and pride    
were my eyes1 that ,i fancied it excited
  mirth and approbation1 while it really
 deserved only compassion4    ,o        
,minardi6 ,o ,tenerani6 ,o ,massimo     
d',azeglio6 you who were present1 but   

now dead1 cannot see the amende which ,i
 make4 ,however1 you knew me  later1 and
 were aware of my repentance4 ,but as   
for you1 excellent  ,clementina--who are
 alive1 and will read1 ,i hope1 these   
pages--if then  you smiled with         
compassion1 because you are so good you 
will to-day  smile with approbation and 
praise4    ,sidenote3 ,i ,,lose ,,my    
,,way4    ,and now1 gentle reader1 would
 you like to see how headstrong and     
proud ,i  had become8 ,one              
evening--,christmas ,eve--,i proposed to
 go to the midnight  ,mass at ,st       
,peter's4 ,i set out at ten o'clock from
 the ,via ,condotti1  where ,i had      
passed the evening with some of my      
,english friends whom ,i  had known in  
,florence4 ,mrs ----1 to whom ,i had    
disclosed my purpose1  said1 ,take care6
 you are not much acquainted with ,roman
 streets2 you  had better take a        
carriage to go there4 ,if you do not1   
you may easily  lose your way in the    
streets of ,rome4 ,they are very        

confusing by day2  imagine what they are
 at night6 ,if this lady had not given  
me such a  warning1 it is probable that 
,i should have done as she suggested2   
but  because she had given it ,i        
despised it1 and determined to go by    
myself  to ,st ,peter's4    ,sidenote3  
,,my ,,pride ,,punished4    ,i walked   
until two o'clock without even being    
able to find the bridge of  ,st ,angelo4
 ,i got bewildered in all those streets 
and lanes which are  comprised between  
,san ,luigi dei ,francesi1 ,piazza      
,navona1 ,san ,andrea  della ,valle1    
,san ,carlo a ,catinari1 ,teatro        
,argentina1 ,il ,gesu1 and ,san         
,ignazio e la ,minerva2 and after having
 walked for two hours1 ,i found  myself 
at the point ,i had started from4 ,then1
 more obstinate than ever1  though      
overcome by weariness and mortified     
pride1 ,i persisted in going  up and    
down all sorts of streets unknown to me1
 and often very filthy1  and again      
coming across the same piazze1 the same 

fountains1 until at  last ,i found      
myself at the foot of the ,campidoglio  
steps4 ,the people  whom ,i met in the  
streets here and there returning from   
the ,mass could  have shown me the way1 
not to go to ,st ,peter's1 but how to   
return to my  hotel1 had ,i been less   
headstrong1 and had ,i inquired for the 
,piazza  ,colonna or ,piazza di ,pietra1
 where ,i lodged4 ,but no2 it appeared  
to me  to be a humiliation4 ,i wished to
 find the hotel by myself2 and ,i did   
find it finally1 but in what a condition
 ,i leave those to judge who know       
,rome1 and the sharp pavements of its   
streets1 but1 above all1 tired out1  and
 more than this1 humiliated and without 
supper4 ,it was two o'clock4  ,the      
,hotel ,cesari was shut1 and ,i had to  
wait until they opened it for  me4 ,i   
asked for supper2 they replied that they
 had nothing1 and that if  they had it  
they could not give me anything1 because
 they were  prohibited by law from      
supplying any food on that night4 ,i    

should have  been glad of any little    
thing1 but could get nothing4 ,my pride 
was  singularly punished that night1 and
 ,i went to bed hungry4 ,at first ,i    
strove in vain to go to sleep1 then ,i  
dreamt all night of eating1 and  awoke  
in the morning rather late4 ,i could not
 realise that ,i could get  up and have 
a good breakfast4 ,i went over again in 
thought the weariness  of the night1 the
 hunger1 the annoyance1 and ,i felt     
weak4 ,but finally ,i  said to myself1  
,i will eat now1 and another time ,i    
shall be wiser4 ,now  to breakfast6     
,after going out of the hotel1 ,i turned
 to the right to go  into the ,osteria  
dell',archetto4 ,it was closed2 the caff
 next door was  closed4 ,i ran into the 
,piazza ,colonna1 and found all shut    
up--caffs1  pastry-cooks1 everything    
closed4 ,i asked1 angrily and with a    
bewilderment easy to comprehend1 what   
was the reason of this1 and was  told   
that during the time of the religious   
ceremonies no one could sell  anything  

to eat4 ,i was stupefied1 and walked    
along slowly1 not knowing  where to go4 
,until after twelve o'clock neither the 
trattorie nor the  caffs would be       
opened4 ,i would not go back to the     
hotel1 as ,i feared  a refusal such as  
,i had the night before4 ,i began to    
feel very faint2  for nearly twenty     
hours ,i had eaten nothing4 ,i saw the  
people gaily  walking about1 smiling1   
smoking1 and looking well-fed and of    
good  colour1 and ,i felt angry and     
envious4 ,they had eaten leisurely and  
at  home1 or in the caff or trattoria   
before ten o'clock1 the hour            
prescribed4 ,i had slept until that     
hour1 and dreamt of eating1 and when  ,i
 went out intending to get something to 
eat1 it was too late4  ,fortunately1 one
 of my friends1 the engraver            
,travalloni1 saw me1 and  coming to meet
 me1 said1 ,what is the matter8 ,why do 
you look so  scared8 ,i told him my     
story1 and he laughed1 and taking me by 
the arm1  said--,come with me4 ,after a 

few turns he entered a doorway half     
closed1 and pushed me up a dark         
staircase1 where there were the savoury 
odours of cooking1 all the more grateful
 to me because my appetite was  so      
great4 ,the staircase opened upon an    
ante-room1 also dark4 ,we closed  the   
door and knocked at a smaller door4 ,it 
was opened1 and ,i found  myself in a   
spacious hall1 well ventilated and full 
of people1 who were  sitting eating and 
drinking cheerfully at table4           
,sidenote3 ,,nothing ,,to ,,eat4        
,what is this8 ,i asked4 ,can ,i get    
anything to eat here8    ,yes1 he said2 
give your orders4    ,the waiter1 with a
 napkin over his shoulder1 was standing 
before us4 ,i  was like a full flask    
which1 being upturned1 can with         
difficulty empty  itself4 ,there was    
such a variety of odours in the room1   
and such a  quantity of things to eat1  
that ,i could not get out a word2 and my
  friend1 seeing my embarrassment1      
hastened to say to me--    ,sidenote3 ,a

 ,,breakfast4    ,will you have some    
soup and a cutlet8    ,yes2 two1 ,i     
replied4    ,will you have ,orvieto or  
good ,roman wine8    ,do me the favour  
to bring anything you please1 so long as
 you bring me  something to eat and     
drink4 ,i can't stop to choose4    ,and 
the good ,travalloni1 turning to the    
servant1 said--    ,bring at once a     
flask of ,orvieto1 such as ,i drink--you
  understand8--some bread1 some soup1 a 
cutlet1 cheese1 and fruit4    ,that day 
,travalloni appeared to me to be a man  
of genius4          ,,chapter ,,viii4   
,,literati ,,at ,,my ,,studio1 ,,and    
,,their ,,influence ,,on ,,my           
,,work--,,calamatta',s ,,opinion ,,of   
,,tenerani1 ,,of ,,bartolini1 ,,and ,,of
       ,,myself--,,his ,,defence ,,of   
,,my ,,abel ,,in ,,paris--,,pius        
,,ii4--,,academicians       ,,and       
,,naturalisti--,,luigi                  
,,venturi--,,prince ,,anatolia          
,,demidoff ,,and       ,,the ,,princess 
,,matilde--,,the ,,statuette ,,in ,,clay

 ,,of ,,the ,,princess       ,,matilde  
,,is ,,destroyed--,,our ,,minister      
,,nigra ,,presents ,,me ,,to ,,the      
,,emperor ,,napoleon ,,iii4--,,beauty   
,,does ,,not ,,exist ,,outside ,,of     
,,nature--,,praise ,,puts ,,one ,,to    
,,sleep--,,the ,,incoherence ,,of       
,,bartolini4      ,my studio1 as ,i     
think ,i have already said1 was the     
resort of many of the  literary men of  
the time--,giusti1 ,thouar1 ,montazio1  
,la ,farina1 ,f4 ,s4  ,orlandini1       
,enrico ,mayer1 ,girolamo ,gargiolli1   
,giovanni ,chiarini1 ,filippo  ,mois1   
and sometimes1 but rarely1 ,g4 ,b4      
,niccolini1 ,atto ,vannucci1 and        
,giuseppe ,arcangeli4 ,these            
distinguished men1 all talking with me1 
and  bringing forward their theories of 
,art1 somewhat confused me in my  ideas4
 ,i said1 at the very beginning of these
 memoirs--and the reader1 ,i  hope1     
keeps it in mind--that ,i had received  
no education1 and my  judgment was not  
trained to discern and distinguish the  

laws of the  beautiful1 which1 the more 
deeply one studies them1 the more they  
scatter1 and seem1 as it were1 to fly   
from us4 ,i was attracted to ,art by  a 
purely natural sentiment1 which ,i      
sought to express by a simple  imitation
 of nature2 and so far1 ,i think ,i was 
right1 for whatever other  path we may  
take1 supported however it may be by    
philosophic and  sthetic reasons1 it    
will prove utterly fallacious unless it 
lead to  this end1 of imitating the     
beautiful in nature1 and will surely    
lead  astray the young artist1 even     
though he has a good natural talent and 
a  lively fancy4    ,sidenote3 ,a       
,,passage ,,in ,,dante4    ,yes1 sir2 my
 poor head was perplexed1 and ,i began  
to distrust nature1  with its           
imperfections and its vulgarity4 ,the   
warm and imaginative  utterances of ,la 
,farina made all the words of ,niccolini
 seem colourless  to me1 for though     
given with antique beauty1 they came    
from him with  difficulty4 ,the pure and

 touching morality of ,thouar conflicted
 with the  humoristic and cynical       
freedom of ,montazio4 ,giusti1 who might
 have set  me right in my opinions1 kept
 at a distance without giving a reason  
why2  and in this he was wrong1 for ,i  
should have given heed to him4 ,but he  
contented himself with writing to the   
advocate ,galeotti1 telling him  that ,i
 was surrounded by a number of fops who 
spoiled me1 and that if ,i  did not shut
 myself up in my studio1 as ,i did when 
,i made the ,abel1 ,i  should not       
succeed in making anything good4 ,this  
outburst of ,giusti's ,i  only knew many
 years afterwards1 on the publication of
 his letters4    ,i remember one day1   
when ,giusti was with me1 ,i recited    
from memory the  canto in the ',inferno'
 relating to ,francesca1 but when ,i    
came to this  passage--        ,quali   
colombe dal desio chiamate      ,con    
l'ali aperte e ferme1 al dolce nido     
,volan per l'aere dal voler portate2    
he interrupted me1 saying1 ,you recite  

well and intelligently the verses  of   
the divine poet2 but you1 too1 fall into
 the error into which so many  have     
fallen--copyists1 printers1 and         
commentators--that of placing the       
semicolon at the end of the line1 after 
the word portate1 instead of  putting it
 in the middle of the line1 after the   
word aere4 ,this  punctuation makes     
,dante guilty of a blunder1 he          
attributing to the  doves1 besides      
desire1 which is most proper1 also will1
 which belongs  properly to man4 ,try   
and place the comma and the pause after 
the word  aere1 and you will see what a 
stupendous philosophical value it gives 
to the verses4 ,listen2 ,i will repeat  
them to you3--        ',quali colombe   
dal desio chiamate      ,con l'ali      
aperte e ferme1 al dolce nido           
,volan per l'aere2 dal voler portate    
,cotali uscir dalla schiera1 ov' ,dido1'
 c4    ,this correction1 so clear1 so   
easy1 so just1 satisfied me immediately1
  and from that day ,i have always      

recited these lines in this way4 ,the   
unintelligent did not perceive the      
change of sense1 but those who were     
more attentive and refined gave me      
praise for it2 but ,i rejected it at    
once as belonging to me1 saying that the
 correction was due to ,giuseppe        
,giusti4#f     #f ,the distinguished    
,signor ,carlo ,ara of ,palermo informs 
me    that this new punctuation did not 
originate with ,giusti1 but with ,muzzi4
    ,and1 in truth1 ,giusti did not tell
 me that it was his1 but simply         
recommended me to try to say it and     
understand it in that sense2 and ,i1    
supposing the correction to be his1     
recited and wrote it so4 ,the           
distinguished ,carlo ,ara pointed out to
 me the way in which ,i could    verify 
his assertion2 and ,i am glad to be able
 to correct an error    7involuntary on 
my part71 and to take this occasion to  
thank the    distinguished ,signor      
,carlo ,ara4      ,the distinguished    
,signor ,angelo ,cavalieri of ,trieste  

writes to me that    this new           
punctuation of this ,dantesque simile   
does not convince him1 and    he gives  
his reasons2 but upon this ,i am not    
competent to enter into a    discussion4
    ,sidenote3 ,,statue ,,of ,,giotto4  
,in making my ,giotto1 ,i followed my   
inspiration by drawing upon nature  for 
that type of rude good-nature which     
constituted the outward  character of my
 statue2 and although some of my        
literary friends1 who  were more        
attached to the antique and the         
so-called bello ideale1  blamed me1 and 
some artists of distinction opposed me  
openly1 ,i firmly  adhered to the sound 
principle of imitating nature4 ,the     
,giotto was  finished without a moment's
 indecision1 although1 as ,i have said1 
,i had  been revolving over and over    
again in my mind the conception of a    
beauty  ideal and beyond nature1 but    
which1 without great judgment1 becomes  
conventional4    ,sidenote3             
,,calamatta',s ,,visit4    ,about this  

time a controversy occurred between me  
and a great artist  which it may be well
 to speak of here1 because1 although it 
will show  how tenacious ,i was of this 
principle of imitating nature1 yet it   
will  also show how much ,i was affected
 by it1 and how the acerbity of this    
artist produced a change in me1 which   
certainly he did not desire4 ,his  fear 
was lest ,i should fall into a servile  
copying of life2 and had his  language  
been more measured1 we should easily    
have understood each  other4 ,but he    
took a different course1 and ,i now     
proceed to give the  history of this    
controversy4    ,sidenote3              
,,calamatta',s ,,attack4    ,i had a    
short time previously completed my model
 of ,giotto1 and1 as ,i  have said1 some
 among the artists most tenacious of the
 classic rules  attacked me sharply1 but
 ,bartolini defended me4 ,i was         
therefore somewhat  irritated when      
,calamatta1 accompanied by ,signor      
,floridi1 the  draughtsman1 came to my  

studio4 ,he came in with a magisterial  
and rather  arrogant air4 ,i received   
him politely and with respectful words1 
such as  became me towards the author of
 the famous mask of ,napoleon ,i4 ,he   
looked  at ,abel and ,cain without      
opening his mouth1 and as if he found in
  them nothing either to praise or to   
blame2 but when he came to the  ,giotto1
 he said1 ,i have heard a good deal of  
talk about you1 in which  you have been 
lauded to the skies1 and ,i wished to   
come and ascertain  with my own eyes    
whether you were entitled to your fame2 
and ,i confess  to you1 though what ,i  
shall say may seem bitter to you1 that  
in the  presence of your works your fame
 disappears2 and if it be permitted to  
me to make a comparison1 ,i should say  
that you produce the same effect  upon  
me as if ,i saw a balloon inflated with 
gas rising majestically in  the air1 and
 which1 after arriving at a certain     
height1 bursts1 and  afterwards leaves  
nothing to be seen4 ,i answered that    

such things might  be thought1 and even 
spoken1 but a little more graciously1   
and ,i said no  more4 ,calamatta        
rejoined1 with some irritation1 that he 
was a person who  could not endure the  
ugly--that it was his instinct to       
denounce it with  the same vivacity and 
earnestness that one does when there is 
a cry of  fire1 and some place is in    
flames4 ,i began then to lose my        
patience3  still ,i only contented      
myself with asking whether he was quite 
sure that  there was a conflagration1   
and whether he was absolutely called    
upon to  extinguish it2 and finally1    
added that ,bartolini1 ,tenerani1 and   
others  had seen my works1 and had      
spoken of them in very different terms4 
,this  only more irritated poor         
,calamatta1 and he said that he had just
 come  from ,paris1 and had visited     
,tenerani at ,rome1 and his insipid and 
hard  mysticism had seemed pitiable to  
him2 and that1 on coming to ,florence1  
he had found in ,bartolini the most     

filthy and offensive realism1 carried   
to the point of proclaiming the beauty  
of deformity1 and that in  response to  
his just criticisms upon the injury that
 he was thus doing  to the true         
principles of ,art1 ,bartolini had      
advised him to come to my  studio and   
see the application of those principles 
which he  censured1--and now1 after     
examining my works1 he perceived that ,i
 was  sliding down a steep declivity1   
which would soon precipitate me into    
naturalism and deformity1 and though he 
recognised in me a certain  talent1 he  
warned me to avoid that false school and
 those insidious  precepts1 and more    
than all1 to be on my guard against     
treacherous and  lying praises4 ,all    
this was very fine1 if it were granted  
that ,i was on  a false road4 ,but as ,i
 did not think so then1 and still less  
now1--and  besides1 as ,i was young1    
flattered1 and praised1 and those words 
of his1  that ,i should be on my guard  
against insidious precepts and          

treacherous  praises1 seemed to me a    
very unjust accusation against          
,bartolini1--,i  indicated to him that  
,i should be glad if he would leave me  
in peace1  and in fact1 as he had       
declared my works to be ugly1 and of an 
ugliness  that he abhorred1 he was not  
in his proper place here2 and as to his 
counsel1 not having asked for it1 ,i    
should not take the trouble to  consider
 it4 ,poor ,calamatta was angry at this1
 and taking by the hand  ,floridi1 who  
during the whole squabble was on thorns1
 he said1 ,let us  go away2 let us go   
away2 let us go away--and away he went4 
,sidenote3 ,,his ,,report ,,and         
,,defence ,,of ,,me4    ,sidenote3      
,,calamatta',s ,,speech4    ,poor       
,calamatta1 my illustrious friend4 ,if  
any one had said on that day1  when we  
separated with such unpleasant feelings1
 and on my part with so  little         
kindness1 ,the time will come1 and soon1
 when he will be your  most open        
defender and friend1 ,i would not have  

believed him1 and ,i  should not have   
wished to believe him1--and yet it so   
turned out4 ,in  #ahee1 eleven years    
after our disagreement1 he was in       
,paris1 and on the  ,jury of the ,fine  
,arts at the ,world's ,exhibition4 ,i   
had sent a model of  the ,abel in       
plaster1 and among the jury the doubt   
arose whether it was  not cast from     
life4 ,as in ,florence that opinion was 
originated out of  evil-mindedness1 so  
it was repeated in ,paris from          
speciousness1 and  heedlessness of      
judgment4 ,calamatta1 whom ,i had not   
seen since that  famous day1 although he
 frequently returned to ,florence1      
undertook to  defend my work with sound 
reasoning and friendly warmth1 but he   
did not  succeed in convincing the      
entire body of the jury of their error  
of  judgment2 and in assigning the      
prizes1 out of mere regard for          
,calamatta  they gave to ,abel one of   
the last4 ,calamatta then rose and said1
  ,gentlemen1 our judgment of this work 

must not be given in this way4 ,i  have 
endeavoured to show you by artistic     
reasoning that this statue is  really   
modelled in clay1 in imitation of       
beautiful nature4 ,i have  pointed out  
that certain imperfections which are    
always found in nature  have been wisely
 avoided by the artist4 ,i have shown   
you clear proofs of  modelling in the   
mode of working the clay4 ,i thought    
that ,i had  convinced you that so noble
 and refined a whole is rather the      
creation  of the mind1 through a        
studious and loving imitation of parts1 
than a  mechanical reproduction by      
casting2 and finally1 ,i have           
demonstrated1  and you have conceded to 
me1 that the head is of equal merit with
 all  the rest of the body1 and this    
could not have been cast from life4     
,from  these considerations1 which arise
 from the examination of the work       
itself1 and without regard to the       
artist1 whom ,i have only once met in   
,florence1 and who is1 ,i believe1      

inimical to me1 ,i am of opinion that   
your judgment of this work should be    
reconsidered1 and if it seems to  you to
 be proved that this statue is a cast   
from nature and not  modelled1 and in   
consequence a falsification and not a   
work of art1 you  ought not to adjudge  
to it even the lowest prize1 but to     
exclude it  entirely from the           
,exhibition1 and in so doing you should 
give your  reasons for such a decision  
in writing1 and under your              
signatures1--and  in such case ,i shall 
retire from the ,jury of ,fine ,arts1   
and shall  publish in the journals of   
,paris my reasons for withdrawing4      
,after this  discourse there arose an   
exceedingly animated discussion1 and the
  ,president decided that a new         
examination of the model should be made2
  and as many were convinced by the good
 reasons put forward by ,calamatta1  the
 second examination of ,abel resulted in
 a complete success1 and at  the next   
voting the golden medal of the ,first   

,class was awarded to me4  ,the news of 
this1 derived directly from ,calamatta  
himself1 was sent to  me at once by     
,rossini1 who had conceived a strong    
affection for me1 and  honoured me with 
his friendship4    ,sidenote3 ,,golden  
,,medal--,,pius ,,ii4    ,i now return  
to the point where ,i left off4 ,after  
,giotto ,i began ,pius  ,,ii42 and      
filled as my head was by the criticism  
of the academicians1 the  eulogies of   
the naturalisti1 the contempt of some to
 whom the subject  was displeasing1 and 
more than all by the exceptional        
character of the  studies ,i had made   
for this work1 ,i began it unwillingly1 
and strove  7strangely enough7 to       
conciliate the academicians1 copying    
from the life  with timidity1 where     
boldness and fidelity were              
required--boldness1 that  is to say1 in 
accepting frankly the stiff paper-like  
folds of the  pontifical mantle1 and    
fidelity in copying them4 ,in           
consequence ,i made a  washed-out work1 

and ,i pleased neither one party nor the
 other1 and much  less myself4 ,i make  
this statement so that young men may be 
on their  guard against allowing        
themselves to stray from the true path1 
which is  this--viz41 to embody the     
subject in its appropriate form by the  
imitation of living nature1 to strive   
for truth of character in the  general  
action and in all the particulars1 and  
in proportion as the  subject is        
historical and natural1 as in           
portraiture1 to adhere all the  more    
closely to nature4 ,in such a case as   
this statue of ,pius ,,ii41 it is       
necessary to be naturalistic--avoiding1 
of course1 all minuti which add  nothing
 to the beauty of general effect and the
 truth of character4    ,has it ever    
happened to you1 courteous reader1 to   
meet a person with  whom your personal  
relations brought you often in contact1 
and who1  reserved and serious by nature
 as well as on account of his social    
position1 differed from you1 who are    

perhaps too vivacious and open2 and  on 
the one side you feared to displease him
 by your vivacity1 and on the  other you
 were annoyed by his reserve8 ,in such a
 case1 if certain  allowance be made on 
both sides--as far as you are concerned 
by  listening with attentive deference  
to his wise counsels1 austere maxims1   
and high principles1 and on his part by 
an indulgent consideration for  your    
free and vivacious nature--has it not   
happened to you that  insensibly and    
firmly a harmony of relation has        
established itself which  it is         
difficult to break1--and this for the   
undeniable1 however  recondite reason1  
that there is a sympathy between        
entirely different  natures which causes
 each to compensate for the other8      
,sidenote3 ,,my ,,friendship ,,with     
,,venturi4    ,in like manner as this   
may have happened to you1 so it happened
 to me  with ,luigi ,venturi1 then      
private secretary of his ,royal and     
,imperial  ,highness the ,grand ,duke   

,leopold ,,ii4 ,he often came to my     
studio by order  of the ,grand ,duke1   
for whom ,i was making a statuette of   
,dante and  another of ,beatrice4 ,he   
took a liking to me1 which ,i have      
returned  sincerely1 even till to-day2  
and he is the oldest and most           
affectionate  of my friends4 ,after the 
revolution of '#ei1 with the loss of his
 high  position he lost also a great    
portion of such friends as come with    
,fortune and flee with her4 ,but neither
 the ingratitude of some nor the        
fickleness of others ever drew from him 
a lament4 ,he was contented with  those 
who remained1 and ,i was one of them4   
,our long and intimate  connection has  
at last harmonised our characters1--he  
making me more  temperate1 and ,i 7as ,i
 dare to hope7 making him more open and 
vivacious4  ,his friendship1 as well as 
that of others of whom ,i shall speak in
 the  proper place1 has strengthened my 
judgment and tempered my fancies4       
,trustworthy1 honest1 and sincere       

friends are a great fortune--and ,i have
  had such1 and have kept them4 ,to     
distinguish the good from the bad       
requires study1 and we must learn how to
 get rid of chatterers and  adulators4  
,sidenote3 ,,prince ,,anatolio          
,,demidoff4    ,and this warning ,i feel
 it my duty to give to young artists1   
for whom  these memoirs are specially   
written4 ,i have already said1 in       
speaking of  models1 ,girls             
unaccompanied as models1 no6 now ,i add1
 ,nor even  married women without the   
express consent of their husbands4 ,here
 is a  little incident which may serve  
as a lesson4    ,prince ,anatolio       
,demidoff often came to my studio4 ,he  
gave vent to his  annoyance at the      
delays and the infinite difficulties    
interposed by  ,bartolini in completing 
the groups and statues of the monument  
ordered  by him in honour of the memory 
of his dead father4 ,to listen to the   
,prince1 he seemed to have a thousand   
good reasons2 but the consequences  he  

drew from them1 and the bold1 unjust    
measures which he proposed1 ,i  could   
not but think blameworthy1 and ,i strove
 in every way to moderate  him1 and to  
dissuade him from carrying out his      
intentions4 ,my frank and  loyal defence
 of ,bartolini1 so far from exasperating
 him1 as often  happened when he was    
opposed1 made him more kindly towards   
me1 and he  proposed to order of me a   
great work worthy1 as he was pleased to 
say1  of my genius4 ,he had a thousand  
projects1 and among them he spoke to me 
of a colossal statue of ,napoleon ,i4   
,he was at that time tenderly  inclined 
toward the ,bonaparte family4 ,his pride
 in being connected with  it1 as well as
 the charms of the beautiful ,princess1 
his wife1 were in  great measure the    
cause of this enthusiasm4 ,he treated me
 with great  kindness1 invited me often 
to dinner and to his evening receptions1
 and  talked very freely with me in     
regard to works that he wished me to    
make  for him4    ,sidenote3 ,,statuette

 ,,of ,,princess ,,demidoff4    ,about  
this time the ,princess came one day to 
my studio1 and told me that  she wished 
me to make her portrait--not merely a   
bust1 but the whole  figure1 almost half
 the size of life4 ,i answered that ,i  
should like much  to make it1 for ,i was
 persuaded that it would give the       
,prince pleasure2  but she hastened to  
say that the ,prince must know nothing  
about it4 ,i  had not sufficient        
presence of mind to reply that without  
his consent ,i  could not undertake     
it--and ,i was wrong1 ,i confess3 but   
the ,princess  stood before me blandly  
insisting2 and overcome by the beauty of
 the  model1 ,i agreed to make it and   
keep it a secret from the ,prince4 ,she 
gave me a number of sittings1 and ,i was
 going on satisfactorily with the       
statuette1 and had already a good       
likeness1 when unexpectedly the ,prince 
came one day to see me1 and after       
exchanging a few words and taking a     
turn through the room1 he stopped before

 the modelling-stand1 on which  was the 
clay of the statuette covered with wet  
cloths1 and said--    ,and what have you
 got here8    ,nothing1 your            
,excellency--nothing4    ,let me see    
what there is under here4    ,but there 
is nothing2 it is only a mass of infirm 
clay1 and is not in a  state to show4   
,let us see1 my friend1--,i am extremely
 curious4 ,and so saying he  lifted up  
the cloths1 looked at it1 and then said 
seriously1 ,very  good--very like2 and  
then in a sharp tone added1 ,and who has
 ordered  this8    ,listen1 ,signor     
,principe4 ,the ,princess has ordered   
this statuette of me1  for ,i see that  
you recognise it as her portrait--and   
she ordered me to  show it to no one1   
not even to you1 ,signor ,principe2 for 
,i believe she  wished to give you a    
surprise1 and to present it to you when 
it should  be finished in marble4       
,sidenote3 ,,prince ,,demidoff',s       
,,displeasure4    ,he answered1 ,the    
,princess has done wrong in ordering her

 portrait  without my consent1 and you  
have done wrong in complying with her   
request4 ,i do not like these surprises1
 and when the ,princess returns  for a  
sitting you must request her to go about
 her business2 and you may  tell her    
that you do this by my order4 ,and      
besides--and this ,i say  particularly  
to you--destroy this work1 and think no 
more about it4    ,i felt that the      
,prince was right1 but to throw down    
this work was a  bitter pain to me2 and 
besides1 ,i was unwilling to displease  
the  ,princess1 who so earnestly desired
 to have this statuette1 and who had    
already expressed her satisfaction with 
it4 ,my face must have been very        
expressive at that moment1 for the      
,prince1 taking my hands in his1  said--
    ,my dear ,dupr1 ,i understand your  
embarrassment and annoyance1 but it is  
necessary that this should be done4 ,i  
do not like1 and ,i will not have  this 
sort of thing1 and ,i like still less   
this way of doing it4 ,do you           

understand8 ,a portrait of the          
,princess1 or even a statue of her1     
would  be a charming possession1 and ,i 
should particularly like one by you4 ,i 
have already a beautiful statue of      
,madame ,letizia by ,canova1 and this of
  my wife would make an admirable       
pendant2 but ,i repeat that this way of 
doing it does not please me1 and though 
,i may seem harsh1 ,i again say to      
you--,destroy this statuette1 and let us
 say no more about it4    ,while he was 
speaking ,i thought to myself--,this    
statuette and portrait  of his wife he  
does not wish to have1 but rather wishes
 to have a statue  of her of life size2 
and so much the better4 ,and then1      
considering that  he had said he did not
 like the way in which it was done1 ,i  
perceived1  as ,i ought from the first  
to have perceived1 that he objected to  
the  ,princess coming to my studio to   
sit1 and ,i answered--    ,you shall be 
obeyed4 ,to-morrow the ,princess is to  
return to give me a  sitting1 and ,i    

will tell her all1 and this clay shall  
go back into the  tank4 ,but ,i hope    
that you will not forget that you have  
spoken of a  life-size statue of the    
,princess2 and as this work would       
require  considerable time1 and it might
 be more convenient to her that ,i      
should  model it in your own palace1 ,i 
could----    ,sidenote3 ,,the           
,,annoyance ,,of ,,the ,,princess4      
,he did not let me finish my sentence1  
but1 embracing me warmly and  kissing   
me1 said--    ,thanks1 dear ,dupr1 that 
is right4 ,that is what pleases me1 and 
that is  the way it shall be done4 ,and 
now1 addio4 ,and pressing my hand1 he   
departed4    ,the day after1 at one     
o'clock1 the usual hour1 the ,princess  
arrived1 gay  and laughing1 as usual2   
and after giving a glance at herself in 
the  mirror1 and arranging a little her 
hair1 she seated herself and said--     
,i am ready4    ,i had not as yet thrown
 down the statuette4 ,there it stood    
uncovered1  just as the ,prince had left

 it the day before4    ,i am very sorry1
 ,signora ,principessa1 ,i began1 to    
give you some bad  news4 ,the ,prince   
was here yesterday4    ,i hope you did  
not allow him to see this portrait8     
,yes1 he has seen it--he has seen it1   
,signora ,principessa4 ,it was  useless 
to try to conceal it from him1 and ,i   
did wrong to endeavour to  do so1 for he
 was perfectly aware of its existence   
when he came here4 ,he  must have been  
exactly informed about it2 and so sure  
was he that ,i was  making your         
portrait1 that he planted himself here  
precisely before the  modelling-stand1  
and seeing that ,i was unwilling to     
uncover it1 he  uncovered it himself    
without any ceremony4 ,he told me that  
,i did wrong  to begin the work1 and    
that ,i must not go on with it1 and1 in 
fact1 he  has expressly ordered me to   
destroy it and throw it down4           
,sidenote3 ,,the ,,princess             
,,remonstrates4    ,while ,i was thus   
speaking she stood disquieted and       

frowning1 and then  said that it was    
unjust1 absurd1 and ridiculous1 and that
 ,i must not  give heed to him1 but that
 she should stay1 and ,i must go on with
 the  portrait4 ,after a while1 however1
 she grew calmer1 and decided to go     
away2 and this was well4 ,but she did   
not give up the matter1 and the day     
after1 she wrote to me to say that she  
should return to give me more  sittings4
 ,i had not yet thrown down the clay1   
not only on account of my  natural      
unwillingness to do so1 which is        
excusable1 but also because of  the     
advice of ,prince ,jerome1 the brother  
of the ,princess ,matilde1 who  insisted
 that the ,prince could not pretend to  
anything more than that  the work should
 be suspended4 ,but of this ,i was a    
safer and better  advised judge than he1
 and well knew that a husband is the    
legitimate  master of his own wife1 and 
of any portrait of her4 ,but ,i repeat1 
,i  allowed the statuette to remain     
because ,i disliked to destroy it4 ,the 

,princess did not return as she had     
promised1 and wrote again to me to      
expect her another day4 ,this went on   
for some time2 and finally1 when ,i  saw
 her again1 she told me that she was    
going to ,paris with the ,prince1  and  
that on her return we must go on1 and if
 the ,prince persisted in his  ideas1   
she would recompense me for the work ,i 
had done on it4    ,in fact1 she went to
 ,paris with the ,prince1 and there she 
remained2  while he1 recalled by the    
,emperor ,nicholas of ,russia1 went to  
,st  ,petersburg1 where he found that a 
decree of divorce had been demanded by  
the ,princess and signed by the         
,emperor4 ,the ,prince gave me nothing  
further to do1 except some slight things
 which are scarcely worth  mentioning1  
and the ,princess entirely forgot her   
promise4 ,and as ,i am  now on this     
matter1 and in order to make an end of  
it1 let me leap over  eleven years1 and 
say that1 having exhibited in ,paris at 
the ,exposition  of #ahee1 besides the  

model in plaster of the ,abel 7as ,i    
have before  narrated71 a reproduction  
in small of this statue in marble1 which
 ,i  desired to sell1 ,i wrote to the   
,princess asking her to purchase it4    
,this  ,i did to remind her indirectly  
of her promise to recompense me for the 
labour ,i had given to her statuette1   
but she never answered4 ,i now make     
another leap over twelve years more4 ,in
 the ,exposition ,universelle at  ,paris
 in #ahfg1 ,i was one of the ,italian   
,jury on ,sculpture2 and one  evening1  
at a reception at the ,tuilleries1 ,i   
was presented by our  minister ,nigra to
 the ,emperor1 who had on his arm the   
,princess ,matilde4  ,as soon as she saw
 me she said1 ,we have known each other 
a long time2  but ,i1 remembering how   
she had treated me1 pretended to have no
  remembrance of her4 ,and the ,emperor 
looked at me through his sleepy  eyes1  
and must have thought me either         
remarkably forgetful or a great  fool4  
,the ,princess1 naturally1 never deigned

 to give me another look4    ,sidenote3 
,i ,,meet ,,the ,,princess ,,in ,,paris4
    ,and now again ,i return to my      
works4 ,after ,pius ,,ii41 ,i put up a  
figure of  life-size representing       
,innocence4 ,this was ordered of me by  
,signor  ,tommasi of ,leghorn2 but      
later1 with my full consent1 it remained
 on my  hands1 and was bought by ,prince
 ,constantine of ,russia4 ,i have       
determined  not to judge my own works1  
though here and there ,i may give a     
little  hint2 but in order that these   
memoirs may be of some use1 it is well  
that ,i should indicate the spirit of   
the principles which guided me in  my   
work4 ,i have said that my faith in the 
pure imitation of nature was  somewhat  
shaken by the criticisms of my ,giotto  
as being too  naturalistic4 ,some       
reasonings by my friends1 and above all1
 certain  articles by ,giuseppe         
,arcangeli in the ',rivista1 ,sul ,bello
 ,ideale1' as  well as the compliments  
and eulogies of my statue of ,innocence 

by  ,borghi1 finally persuaded me that  
there does exist a bello ideale         
impossible to find in nature1 and this  
beauty should be arrived at by an       
imitation of the antique1 and by the aid
 of memory4    ,sidenote3 ,,idealists   
,,and ,,naturalists4    ,nothing is more
 dangerous than this theory4 ,beauty is 
scattered over  universal nature4 ,the  
artist born to feel and perceive this   
beauty  7which is the object of art7 has
 his mind and heart always exercised in 
seeking it out and expressing it4 ,he   
discerns in nature one or more  living  
forms that in some degree approximate to
 the type he has in his  mind1 and the  
reality of these1 by strengthening his  
ideals1 enables him  to work the latter 
properly out4 ,the artist who is without
 his ideal1  and forces himself to find 
it outside of nature1 torturing his     
memory  with what he has seen or studied
 in the works of others1 makes but a    
cold and conventional work4 ,the        
animating spark1 the heat1 the life1    

does not inform his work1 for he is not 
the father1 but only the  stepfather of 
his children4 ,to this school belong the
 imitators--that  is1 the timid friends 
of nature4    ,on the other side1 but in
 much greater numbers and with much     
greater  petulance1 are the naturalisti1
 who despise every kind of ideality1    
and especially despise it because they  
have it not4 ,neither is their  heart   
warmed by strong and sweet affections1  
nor do they with their  eyes or their   
mind seize1 among the multiform shapes  
of nature1 a type1  a movement1 or an   
expression which1 assiduously pursued1  
awakens and  fecundates the idea within 
them4 ,the first ruffian or harlot of   
the  streets taken by evil chance       
suffices for them1 and they delight to  
drag  this noble art of ours through    
filth and ugliness4    ,sidenote3 ,,bad 
,,effects ,,of ,,eulogy4    ,each of    
these extremes ,i have sought to avoid4 
,but it is none the less  true that1 at 
the period to which ,i have arrived in  

my narrative1 ,i was  carried a little  
away1 by the discourses and writings of 
literary men  and critics of ,art1 on   
the road that leads to the conventional 
and  academic4 ,this bad influence      
weakened my faith in nature and my      
courage  in my work4 ,and the ,pius     
,,ii41 the ,innocence1 and the ,purity  
are1 so to  speak1 the mirrors in which 
are reflected my want of faith1         
uncertainty1  and weakness of mind      
during these three years of artistic    
irresolution4  ,in seeking after the    
perfect ,i lost the little good that my 
genius had  produced in my first years1 
uninfluenced by all these discussions1  
and  what is of more importance1 by all 
eulogies both of good and of bad  alloy4
 ,yes1 also of bad alloy4 ,the young    
artist should take heed of all  the     
praise that he receives4 ,he should hold
 it in suspicion1 and weigh  it1 and    
make a large deduction4 ,eulogy is like 
a perfume1 grateful to  the sense1 but  
it is better to inhale it but little1   

little1 little1  because it goes to the 
head1 lulls us to sleep1 and sometimes  
intoxicates us and bewilders us so that 
we lose our compass4 ,one must be       
prudent4 ,flowers of too strong an odour
 must be kept outside the room4  ,air is
 necessary--air4 ,i hope that these     
words will fall into the ear of  some to
 whom they may do good--,i mean1 of     
those who not only sniff up  praise with
 eagerness1 but are discontented because
 they do not think it  sufficient1 and  
who re-read it and talk of it with      
others so as to  prolong their pleasure1
 and preserve all the papers and        
writings which  speak of them1 without  
perceiving that this is all vanity and  
pettiness  of heart4    ,sidenote3      
,,injudicious ,,praise4    ,for the     
rest1 it is very easy to see how one may
 vaccilate1 and even  fall2 and on this 
account ,i deem it my duty1 for the love
 that ,i bear to  young men1 to put them
 on their guard against the             
blandishments of  praise4 ,imagine1 dear

 reader1 an inexperienced youth of      
spirit and  lively fancy1 who in his    
first essays in ,art finds it said and  
written  of him that he has surpassed   
all others1 has begun where others      
ended1  that he is born perhaps to outdo
 the ,greeks with his chisel1 that      
,michael ,angelo must descend from the  
pedestal he has occupied for  centuries1
 and other similar stuff--more than     
this1 expose him to the  envy of the    
,mviis1 and those light and             
inconsiderate flatteries1 which  are all
 the more dangerous when made attractive
 by courtesy and  refinement of         
expression1--and you will have the      
secret of his  vaccilations1 even if    
with ,god's help he is not led utterly  
astray4    ,at this most trying time of 
my life the peace of my family was      
somewhat  disturbed by these influences4
 ,my wife was disquieted because ,i had 
prevented her from carrying on her      
occupation4 ,our daily necessities      
increased with the growth of our        

children4 ,then there were requirements 
and troubles on account of my father1   
thoughts about my sister1 as well  as my
 brother1 who wished to become a        
rougher-out in marble1 and who  brought 
to my studio very little aptitude united
 with great pretensions  on the score of
 being my brother4 ,all these annoyances
 were partly  confided to my friend     
,venturi1 to whom ,i poured out all my  
mind2 and he  with wise and kindly words
 consoled me4    ,sidenote3 ,,bartolini 
,,and ,,the ,,crucifix4    ,not the     
least affliction to me was ,bartolini's 
unconcealed animosity1 of  which ,i had 
a new proof in a fact which it is here  
the place to narrate4  ,i hope that the 
reader will remember that ,i made1 while
 in the studio of  ,sani1 a little      
crucifix which the ,signor ,emanuel     
,fenzi bought for the  chamber of his   
son ,orazio1 who married the noble ,lady
 ,emilia of the  ,counts ,delia         
,gherardesca4 ,about this time ,signor  
,emanuel desired to make  my            

acquaintance1 and having become intimate
 with me1 wished to have me  often with 
him4 ,thus he discovered that this      
crucifix he had bought of  ,sani was my 
work1 and ,i cannot say how much this   
delighted him4 ,to his  dinners and     
conversazioni1 which were frequented by 
many foreigners as  well as ,italians1  
,bartolini often came2 but he was never 
willing to  renew his relations with me1
 although my bearing towards him was    
that of  the most affectionate          
consideration4 ,as long as this         
unwillingness was  concealed or         
perceived by few1 ,i bore it quietly2   
but it happened that  it was soon openly
 exhibited4 ,one evening after dinner   
the salon of  ,signor ,fenzi was filled 
with guests1 and gay with all sorts of  
talk4  ,soon1 as was natural1 the       
conversation fell upon ,art2 and        
,bartolini1 who  was an easy and clever 
talker1 affirmed that the arts were in  
decadence1 for various reasons3 first1  
because of the want of  enthusiasm and  

faith among the lower and upper classes1
 both of whom  were sleeping in a dolce 
far niente2 and second1 because the     
artists  had abandoned the right road of
 imitation of beautiful nature1 and were
  pursuing with panting breath a        
chimerical beauty1 which they called a  
bello ideale2 and last1 because the     
vices of both had usurped the  place of 
the virtues of our ancestors1 and       
luxury1 apathy1 and avarice  had drawn  
out of our beautiful country activity1  
temperance1 modesty1  and               
liberality1--and he illustrated this by 
various instances of ancient  temperance
 and modesty4 ,while ,bartolini was     
speaking1 ,signor ,fenzi went  into the 
chamber of the ,cavaliere ,orazio and   
brought out the ,christ1  which1 by     
reason of the long time that it had been
 executed1 and perhaps  of the kisses of
 the pious ,signora ,emilia1 had an     
antique look1 and  showing it to the    
maestro1 said--    ,look at this work4  
,after examining it1 he said1 ,the proof

 that our artists of old were as  able  
as they were modest can be seen in this 
work4 ,the artist who made  it1 and who 
probably was only an intagliatore1 would
 have been able to  make a statue such  
as perhaps no one to-day could4    ,at  
this ,fenzi replied1 with a smile1      
,excuse me1 but you are in error4  ,this
 is a modern work1 and there is the     
artist who made it1 pointing me  out1   
who was just coming in at that moment4  
,bartolini laid down the ,christ1 spoke 
not a word more1 and did not  deign even
 to look at me1 although he had praised 
the work4 ,this did not  seem just1     
either to ,fenzi or to any of the       
persons there present4                  
,,chapter ,,ix4         ,,the           
,,political ,,reforms ,,of ,,the ,,year 
#ahdg ,,in ,,tuscany--,,my ,,first      
,,scholars--,,ciseri1 ,,prati1          
,,aleardi1 ,,fusinato1 ,,coletti1 ,,and 
,,chiarini ,,the                        
,,improvisatore--,,inedited ,,verses    
,,by ,,prati--,,giuseppe                

,,verdi--,a ,,digression ,,on ,,artistic
 ,,individuality--,,the ,,emperor ,,of  
,,russia',s ,,visit ,,to ,,my           
,,studio--,,reactionary ,,movement ,,of 
,,the #ab,,th       ,,of ,,april1       
#ahdi--;,i ,,am ,,in ,,danger ,,of ,,my 
,,life--,,the ,,return ,,of ,,the       
,,grand ,,duke4      ,the elevation of  
,pius ,,ix4 to the ,pontificate1 the    
amnesty and reforms  granted by that    
,pontiff1 which initiated and awoke the 
liberal  sentiments of all ,italy1 were 
perhaps felt more in ,florence than     
elsewhere1 almost all the political     
refugees from the different ,states     
having for some time past found a safe  
and peaceful home there1 owing to  the  
character and patriarchal laws of the   
,grand ,duke4 ,this drew me away  from  
the serene quiet of my studio1 and with 
the others ,i shouted1 ,long  live      
,ferruccio6 ,pius ,,ix46 the press6 the 
civic guard and ,gioberti6 and  all the 
rest4 ,the principal leader of our      
peaceful demonstrations was  the        

advocate ,antonio ,mordini1 and after   
him came ,giuseppe ,la ,farina1 and     
others4 ,not a petition was made to the 
,government or a deputation sent  to the
 ,prince in which ,i did not take part4 
,whether our honest demands  were of use
 to the country1 ,i will not discuss1   
but certainly my work  suffered not a   
little from this state of things4 ,nor  
was ,i the only one  to abandon the     
studio2 all1 young and old1 were        
possessed and inflamed  with a national 
aspiration for independence from foreign
 occupation4 ,the  consequence of all   
this excitement was1 that ,i was taken  
away from my  studies and work2 and1 in 
short1 while there was a great deal of  
patriotic enthusiasm1 there was but     
little study1 very little profit1  and  
much idle talk on questions more or less
 futile1 by which family  peace was     
destroyed1 and friendship made a matter 
of caution and  suspicion4    ,sidenote3
 ,,politics ,,and ,,revolution ,,of     
'#dh4    ,although in these memoirs ,i  

do not propose to speak of politics 7not
  feeling equal to it71 ,i wish to touch
 on the great events that produced  the 
revolution of '#dh1 as they were one of 
the causes of interruption in  my art2  
and even in politics1 in consequence of 
the turn things were  taking1 ,i found  
myself set aside4 ,some of my friends   
whose views went  far beyond mine left  
me1 and the others that had remained    
stationary  blamed me even for those    
temperate aspirations that were those   
also of  the ,government4 ,i was        
disheartened1 self-involved1 and ill at 
ease4 ,with  the growth of the          
revolution1 the departure of the ,grand 
,duke1 and the  dread of a dangerous    
crisis1 artistic life was not one of the
 most  flourishing1 and ,i had not work 
of any kind1 except to retouch the wax  
of ,abel and ,cain1 that the ,grand     
,duke had given an order to ,papi to    
cast in bronze4    ,seeing this1 ,i     
concentrated all my life in my family   
affections4 ,my  studio had become      

deserted2 my scholars--,tito ,sarrocchi1
 ,luigi ,majoli1  and ,enrico           
,pazzi--had left me to go to the camp4  
,they returned  afterwards1 but were    
always tossed about on the wave of the  
revolution4  ,only one of my workmen1   
,romualdo ,bianchini1 was left dead on  
the field1  the #bith of ,may1 at       
,curtatone4    ,i passed my days in     
great sadness4 ,antonio ,ciseri1 with   
whom ,i had  contracted a friendship    
from my earliest steps in art1 had his  
studio  near mine1 and we used to       
exchange visits4 ,although he was not a 
facile  talker1 his nature was open and 
ingenuous2 and as his principles in art1
  his morals1 and his habits agreed with
 mine1 a strong friendship grew up      
between us1 which has never diminished2 
and if years have whitened our  beards1 
our hearts have not grown old1 and we   
love each as in our early  years4       
,to-day he is one of our first painters1
 and has a number of able  and devoted  
scholars4    ,sidenote3 ,,poets ,,and   

,,improvisation4    ,amongst my friends 
was also ,dr ,giuseppe ,saltini1 who for
 many years had  been a physician in the
 employment of the ,government1 and now 
leads a  hard life with restricted      
means1 on account of having so many     
children4  ,now ,i will describe an     
evening passed most pleasantly in those 
times4  ,one day some clever men came to
 see me--,prati1 ,aleardi1 ,fusinato1   
,coletti1 doctor and poet1 and others   
that ,i do not remember4 ,they said  to 
me1 ,is it true that in ,florence there 
are1 as in the days gone by1            
improvisatori poets8 ,we it was ,prati  
who spoke are curious to hear  one1 and 
have not the pretension1 as you can     
imagine1 to expect high  flights1 but   
only free verses1 and really improvised4
 ,here is ,aleardi  7whom ,i present to 
you71 who is a confounded sceptic on the
 subject of  improvisation1 and says    
that these people commit to memory a    
great  quantity of verses of various    
measures1 and when the occasion offers  

itself1 have the art of patching them   
together in such a way that the  mosaic 
resembles a real picture4 ,you must     
know1 however1 that my friend  is very  
slow in composition1--much slower than  
,i am1 although he is a  far abler and  
more graceful poet4    ,i believe1 said 
,i1 ,i know just the person you are     
looking for1 and  ,aleardi will be      
disabused of such a notion4 ,it is a    
certain ,chiarini1  called ,baco1 who   
keeps a little stall under the ,uffizi1 
and ,i have heard  him many times1 alone
 or in company of others4 ,it was real  
improvisation2 the flow of his ideas was
 not common or vulgar1 and he  invested 
them with a graceful and vigorous form4 
,you shall hear him4 ,i  will take upon 
myself to invite him to come4 ,return   
here1 and ,i will  tell you when he is  
able to do so1 for he is a man who has  
much to do4  ,during the day1 as ,i have
 said1 he attends to his little shop    
under the  ,uffizi1 and in the evening  
he is engaged to go here and there on   

purpose  to show his skill as an        
extempore poet4    ,sidenote3 ,,an      
,,improvisatore4    ,sidenote3 ,,death  
,,of ,,buondelmonte4    ,the poet having
 been engaged1 and an appointment made  
for my friends at  the studio1 trial of 
his improvisation took place2 and he did
 not know  who his listeners were1 which
 was perhaps as well1 for who knows how 
much the poor poet might have felt      
embarrassed by the presence of such     
men8 ,a table was constructed by laying 
a board on two trestles4 ,i had         
invited1 besides ,prati and the rest1   
,ciseri the painter1 ,giulio ,piatti1   
and some others whom ,i do not remember4
 ,the table was laid with great         
simplicity--some bread1 sausages1 and   
wine serving only as a sort of  excuse  
for animating our poet with a little    
food and drink4 ,before  anything else  
was done1 ,aleardi and ,prati besieged  
the improvisatore  with questions to    
ascertain how far his culture went2 and 
although he  showed that he was familiar

 and well acquainted with the poets1    
beginning with ,homer and ,virgil down  
to our times--so that he could  repeat  
by memory some of the most beautiful    
fragments--as far as  history1          
geography1 and critical works went1 he  
really knew very little1  or at least so
 pretended4 ,then without further       
preamble ,chiarini said1  ,some one give
 me a theme4 ,i feel in the mood for    
singing2 and seating  himself whilst    
waiting1 he began a prelude upon his    
guitar1 which was  sometimes soft and   
mournful1 and then again loud and       
stirring4 ,seeing  that we delayed      
giving him a subject1 he began to sing  
off verse after  verse in ottava rima1  
and stringing together a series of      
piquant and  pointed remarks against us1
 ridiculing our torpor and indifference4
 ,i  cannot describe our hearty laughter
 in hearing the deluge of sarcasm and   
biting epigrams launched at each of us  
in turn by way of stirring us up4  ,the 
verses were so flowing1 fresh1 and      

spirited1 that they really did  not seem
 like improvisations1 so that ,prati1 a 
little irritated1 after a  brief        
consultation with the others1 gave out  
the following theme3 ,the  death of     
,buondelmonte of the ,buondelmonti4 ,our
 poet began as if he had  studied the   
subject before in all its parts1        
situations1 colouring1  names1 dates1   
and particulars1 the circumstances and  
sad consequences of  that tragic death1 
and sang with inspired freedom1 and with
 always  increasing warmth and passion4 
,the tender and pure love of the        
,amidei1  the betrothal and pledges made
 between the two families1 the insidious
  and malicious conduct of the mother of
 the ,donati1 the frivolities of        
,buondelmonte attracted by the saucy    
beauty of her daughter1 the perjury  and
 breaking away of the compact with the  
,amidei family1 the marriage  arranged  
with the ,donati1 the preparations for  
this marriage1 the rage  of the ,amidei 
and their followers for such an         

atrocious insult and want  of good      
faith1 their schemes of vengeance1 the  
conspiracy1 the ambush  and murder at   
the foot of the statue of ,mars 7where  
he interpolated in a  masterly way the  
saying of ,mosca--        ,lasso6 capo  
ha cosa fatta1 che fu 'l mal seme della 
gente ,tosca7    --it seemed as if the  
whole thing stood there before him1 not 
as a  picture1 but a living and         
breathing reality2 while he1 with his   
head and  eyes uplifted1 was heedless of
 our enthusiasm and shouts of applause4 
,he sang for almost two hours2 and when 
he had finished1 all bathed with        
perspiration1 he put down his lute and  
drank4 ,prati and the others  embraced  
him with effusion1 only regretting that1
 owing to the rapidity  and rush of the 
poet's inspiration1 they had been able  
to retain but a  few lines4 ,prati1     
however1 repeated and perhaps somewhat  
refashioned a  whole verse in ottava    
rima1 and not content with expressing   
his  admiration in words1 wished to     

prove it to poor1 tired1 and excited    
,baco  by dictating an improvised sonnet
 to him1 of which ,i remember the first 
four and the last three lines4          
,sidenote3 ,,prati',s ,,improvisation4  
,in order1 however1 to understand       
,prati's verses1 it is necessary to know
  that in those days the ,capponi       
,ministry had fallen1 and ,guerrazzi    
come  into power4 ,prati1 who had       
suffered some persecution from him1     
owing to  having in his harangues before
 the ,circolo ,politico ,moderato       
fulminated  ,pindarically against this  
,titan from ,leghorn1 whilst praising   
the  improvisatore1 lashes out against  
the opposition4 ,here are the verses1   
and ,i regret ,i have only retained     
these in my memory3--                   
,s'improvvisan ministri alla recisa2    
,s'inalzan nuovi altari a nuovi di2     
,ma un improvvisator come tu sei1       
,per la croce di ,dio6 non s'improvvisa4
        ,one soon may improvise new     
ministers1      ,unto new deities raise 

altars new2      ,but an improvisator   
like to you1      ,by ,god's own cross6 
one cannot improvise4    ,and the last  
three lines are3--                      
,felice1      ,che almen tu vivi alla   
febea fatica1      ,n sei di quelli che 
una nuova ,italia      ,tentando        
improvvisar1 guastan l'antica4          
,happy you live in your ,phoebean toils1
      ,not one of those that our new    
,italy      ,striving to improvise1 the 
antique spoils4    ,and1 placing his    
signature at the bottom of it1 he       
presented it to  ,chiarini1 whose face1 
when he had read it and seen by whom it 
was  signed1 assumed an expression of   
admiration mingled with regret touching 
to behold4    ,sidenote3 ,,replica ,,of 
,,the ,,abel4    ,the evening passed    
gaily4 ,prati also improvised1          
encouraged 7which is  saying a great    
deal7 and accompanied by ,chiarini1 and1
 despite his  puffing and blowing1 said 
some very fine things4 ,at last we      
separated1  engaging our improvisatore  

for another evening in another place2   
but  this ,i shall omit4    ,this       
symposium of artists was one of the few 
pleasures of those days1  when my       
interest and enthusiasm for ,art were   
relaxed1 and ,i had no  opportunity to  
work1 as ,i have before said1 because1  
except retouching  in wax the ,abel and 
,cain1 and some few portraits1 ,i had   
absolutely  nothing to do4 ,in          
connection with these statues that the  
,grand ,duke had  ordered in bronze1 let
 me say that1 having finished in marble 
the ,abel1  the ,grand ,duke saw it1    
regretted that he had not ordered it    
himself1 and  that it was to go away    
from ,florence4 ,i proposed1 to satisfy 
his wishes1  to make a replica2 but he  
was set upon having the original4 ,it   
was in  vain ,i said that any replica   
made by him who had originally made the 
model is always and substantially       
original1 the artist in finishing it    
always introducing modifications and    
changes which make it an original  and  

not a copy4 ,his ,highness was not      
satisfied with this reasoning1 and      
preferred that it should be cast in     
bronze1 making the mould upon that      
which was already finished in marble4   
,i answered1 ,in order to do that1 ,i   
must have the permission of the  owner4 
,sidenote3 ,,cast ,,of ,,abel ,,for     
,,the ,,grand ,,duke4    ,right1 he said
 to me2 and if1 as you assure me1 the   
marble is not  injured by making the    
mould1 ,i am certain that permission    
will be  given4    ,i wrote to the      
,imperial household of ,russia that his 
,highness the ,grand  ,duke wished to   
have a cast in bronze of the ,abel1     
taking the mould from  the finished     
marble that ,i was making for his       
,imperial ,majesty 7the  ,grand ,duchess
 ,marie having presented both this      
statue and the ,cain to  her father the 
,emperor ,nicholas74 ,the answer was    
precisely this3 ,if the  ,abel is       
finished1 have it boxed up and sent     
immediately4    ,i showed the answer to 

the ,grand ,duke1 who smiled and said-- 
,one cannot deny that the answer is not 
very gracious2 but now1 as ,i  really   
desire to have this statue in bronze1   
tell me1 could not a mould  be taken    
from the plaster-cast8    ,your         
,highness1 yes2 and for this1 only the  
consent of the artist is  required4     
,and do you give this consent8    ,i    
prefer to take the mould from the       
plaster-cast rather than from the       
marble1 because the cast is the more    
accurate--in fact1 is the true          
original4    ,and so it was settled4    
,and at the same time1 he ordered also  
the ,cain1  from which ,i removed the   
trunk that served as a support in the   
marble1  bent a little more the arm and 
the hand1 which was upon the forehead1  
and remodelled it almost entirely in the
 wax4    ,about this time ,giuseppe     
,verdi came to ,florence to bring out   
his  ',macbeth4' ,if ,i mistake not1 it 
was the first time he ever came among   
us2 but his fame had preceded him4      

,enemies1 it is natural1 he had in      
great numbers4 ,i was an admirer of all 
his works then known1 ',nabuco1'        
',ernani1' and ',giovanna d',arco4' ,his
 enemies said that as an artist he  was 
very vulgar1 and corrupted the ,italian 
school of singing2 and as a  man1 they  
said he was an absolute bear1 full of   
pride and arrogance1 and  disdained to  
make the acquaintance of any one4       
,wishing to convince  myself at once of 
the truth of this1 ,i wrote a note in   
the following  terms3 ,giovanni ,dupr   
begs the illustrious ,maestro ,g4 ,verdi
 to do him  the honour of paying him a  
visit at his studio whenever it is      
convenient  for him to do so1 as he     
desires to show him his ,cain1 that he  
is now  finishing in marble1 before he  
sends it away4 ,but in order to see how 
much of a bear he really was1 ,i carried
 the letter1 and represented  myself as 
a young man belonging to the            
,professor's studio4 ,he received  me   
with great urbanity1 read the letter1   

and then1 with a face which was  neither
 serious nor smiling1 he said--    ,tell
 the ,professor that ,i thank him very  
much1 and ,i will go to see him  as soon
 as possible1 for ,i had it in my mind  
to do so1 wishing to know  personally a 
young sculptor who1 c4    ,sidenote3    
,,visit ,,of ,,verdi4    ,i answered1   
,if you1 ,signor ,maestro1 desire to    
make the acquaintance as  soon as       
possible of that young sculptor1 you can
 have that satisfaction  at once1 for ,i
 am he4    ,he smiled pleasantly1 and   
shaking my hand1 he said1 ,oh1 this is  
just  like an artist4    ,we talked a   
long time together1 and he showed me    
some letters of  introduction that he   
had for ,capponi1 ,giusti1 and          
,niccolini4 ,the one for  ,giusti was   
from ,manzoni4 ,all the time that he    
remained in ,florence we  saw each other
 every day4 ,we made some excursions    
into the  neighbourhood1 such as to the 
,ginori porcelain manufactory1 to       
,fiesole1  and to ,torre del ,gallo4 ,we

 were a company of four or five3 ,andrea
  ,maffei1 ,manara1 who afterwards died 
at ,rome1 ,giulio ,piatti1 ,verdi1 and  
myself4 ,in the evenings he allowed     
either the one or the other of us to  go
 to hear the rehearsals of ',macbeth2'  
in the mornings he and ,maffei  very    
often came to my studio4 ,he had a great
 deal of taste for painting  and        
sculpture1 and talked of them with no   
ordinary acumen4 ,he had a  great       
preference for ,michael ,angelo2 and ,i 
remember that1 in the chapel  of ,canon 
,sacchi1 which is below ,fiesole1 on the
 old road1 where there is  a fine       
collection of works of art1 he remained 
on his knees for nearly a  quarter of an
 hour in admiration of an altar-piece   
said to be the work  of ,michael        
,angelo4 ,i wanted to make his bust2 but
 for reasons  independent of his will   
and mine1 this plan could not be carried
 into  effect1 and ,i contented myself  
with taking a cast of his hand1 which ,i
  afterwards cut in marble and presented

 to the ,siennese ,philharmonic         
,society1 to which ,i have belonged     
since #ahdc1 when1 as ,i have before    
said1 ,i went to ,siena4 ,the hand of   
,verdi is in the act of writing4 ,in    
taking the cast the pen remained        
embedded in it1 and now serves as a     
little stick to my sketch of            
,sant',antonino4    ,sidenote3 ,,verdi4 
,verdi seemed to be pleased with the    
,cain1 the fierce and savage nature  of 
which he felt in his very blood2 and ,i 
remember that my friend ,maffei         
endeavoured to persuade him that a fine 
drama1 with effective situations  and   
contrasts of character1 with which      
,verdi's genius and inclination  fitted 
him to cope1 could be made out of       
,byron's tragedy of ',cain1'  which he  
was then translating4 ,the gentleness of
 character and piety of  ,abel          
contrasted with that of ,cain1 excited  
by fierce anger and envy  because the   
offer of ,abel was acceptable to ,god2  
,abel1 who caresses his  brother and    

talks to him about ,god--and ,cain1 who 
scornfully rejects his  gentle words1   
uttering blasphemies even against ,god2 
a chorus of  invisible angels in the    
air1 a chorus of demons under ground2   
,cain1 who1  blinded by anger1 kills his
 brother2 then the mother1 who at the   
cry of  ,abel rushes in and finds him   
dead1 then the father1 then the young   
wife  of ,abel2 the grief of all for the
 death of that pure character1 their    
horror of the murderer2 the dark and    
profound remorse of ,cain2 and  finally1
 the curse that fell upon him1--all     
formed a theme truly worthy  of the     
dramatic and ,biblical genius of        
,giuseppe ,verdi4 ,i remember that  at  
the time he was much taken with it2 but 
he did nothing more about it1  and ,i   
suppose he had his good reasons4        
,perhaps the nudity was an  obstacle4   
,still1 with the skins of wild beasts1  
tunics and eminently  picturesque       
mantles can be made2 at all events he   
could have set the  subject to music if 

it offered him situations and effects   
and really  attracted him1 for ,verdi   
has shown in his many works that he     
possesses  that sublime and fiery genius
 which is adapted to such a tremendous  
drama4 ,he who had conceived the grand  
and serious melodies of ',nabuco1'  the 
pathetic songs of the ',trovatore' and  
the ',traviata1' and the local  colour1 
character1 and sublime harmonies of     
',aida1' might well set ,cain  to music4
 ,should ,verdi at any time read these  
pages1 who knows what he  may do8       
,sidenote3 ,,cain1 ,a ,,subject ,,for   
,,an ,,opera4    ,and here perhaps it is
 best for me to make a slight           
digression1 in order  to speak of the   
character and disposition which         
specially belong to  every artist       
independently of everything else--of his
 studies1 of what  he copies1 and of the
 fashion of the day4 ,who would have    
thought that so  sweet and strong a     
painter as ,giotto would ever have risen
 out of the  harsh and coarse           

mosaic-paintings of the ,byzantines and 
the teachings of  ,cimabue8 ,variety of 
character1 truth of movement and        
expression1 broad  and flowing          
draperies1 colouring at once temperate1 
airy1 and strong1  were1 it might be    
said1 created by him1 and took the place
 of the  hardness1 and ,i could almost  
say deformity1 of the ,byzantines and   
the  dryness of the works of ,cimabue4  
,nor did ,fra ,giovanni ,angelico show  
less  originality and individuality in  
his works4 ,he lived in the full noon of
  the naturalistic school of ,masaccio1 
,lippi1 and ,donatello1 and his pure    
spirit drew its inspirations from the   
mystic and ideal sources of  heaven1 the
 ,virgin1 and the saints1 not only in   
his subjects1 but in  their treatment4  
,michael ,angelo1 solitary in the midst 
of a corrupt1  avaricious1 and          
lascivious civilisation1 by his         
temperament and will was  conspicuous   
for his purity of morals1 his large     
liberality1 and his  intellectual love2 

and despite of ,raphael and ,leonardo1  
those most  splendid planets of ,art1 he
 maintained his originality1 and his    
great  figure towers like a giant among 
them4    ,sidenote3 ,,character ,,of    
,,the ,,artist4    ,the artist by       
nature1 developed by study1 becomes     
original and has a  character distinct  
from all others1 and in no way1 not even
 in the  slightest characteristic1 can1 
despite any exterior influence1 be      
different from what he is4 ,for if      
,giotto had been born and educated in   
the sixteenth or seventeenth century1 he
 would not have painted the vain  pomps 
and the archaic frivolities of that     
period2 nor would ,fra ,angelico  at the
 school of ,giulio ,romano have given   
himself up to the  lasciviousness of his
 master2 nor would ,michael ,angelo have
 been warped1  nor was he warped1 by the
 strength of those giants ,leonardo and 
,raphael4  ,the artist1 then1 is what he
 is and such as he is born1 and study   
will  only fertilise his genius1 his    

nature1 and his propensities1 nor can he
  with the utmost force of his will     
conceive and create a work contrary to  
his nature and to his genius4 ,michael  
,angelo would never have been able1     
even with a hundred years of the most   
powerful effort1 to create a  ,paradise 
like that of ,giovanni ,angelico2 and   
,fra ,angelico would never  have        
imagined even one of the figures of the 
,last ,judgment in the  ,sistine        
,chapel4 ,i remember--and this is my    
reason for this  digression--that one   
day ,rossini1 speaking to me            
confidentially of ,art  in general1 and 
upon this subject and all its bearings  
7and he was a  competent judge71 came by
 degrees to speak of music1 and of the  
individual character of the composers he
 had known1 and in regard to  ,verdi he 
spoke thus3 ,you see1 ,verdi is a master
 whose character is  serious and        
melancholy2 his colouring is dark and   
sad1 which springs  abundantly and      
spontaneously from his genius1 and      

precisely for this  reason is most      
valuable4 ,i have the highest esteem for
 it2 but on the  other hand1 it is      
indubitable that he will never compose a
 semi-serious  opera like the ',linda1' 
and still less a comic opera like the   
',elixir  d',amore4'    ,sidenote3      
,,rossini',s ,,views ,,of ,,verdi4    ,i
 added1 ,nor like the ',barbire4'    ,he
 replied1 ,leave me entirely out of the 
question4    ,this he said to me        
twenty-two years ago in my studio in the
 ,candeli1 and  ,verdi has not yet      
composed a comic or semi-serious opera1 
nor do ,i  believe that he has ever     
thought of doing so2 and in this he has 
been  quite right4 ,the musical art and 
,italy wait for a ',cain' from him1 and 
they wait for it because he himself felt
 the will and the power to  create it4  
,i remember also another judgment and   
another expression of ,rossini's in     
regard to ,verdi4 ,one evening after    
dinner ,i stayed on with him1 because   
he liked to have a little talk4 ,he was 

walking slowly up and down the          
dining-room1 for he did not like to     
leave the room1 the unpleasant odour    
which remains after dinner giving him   
apparently no annoyance4 ,the  ,signora 
,olimpia1 his wife1 was playing a game  
of cards called  minchiate with one of  
the regular friends of the house--,i    
mean one of  those inevitable sticks    
that old ladies make use of to amuse    
them and  help them to pass the time at 
cards4    ,sidenote3 ,,rossini ,,on     
,,verdi4    ,some one always arrived    
late1 but ,rossini would not see        
everybody4 ,this  evening1 if ,i mistake
 not1 came the ,signora ,varese1 ,signor
 de ,luigi1 and  others whom ,i did not 
know2 then two youths1 who apparently   
were  music-masters1 and they1 after    
saluting the ,signora1 turned to        
,rossini  with these words3 ,have you   
heard1 ,signor ,maestro1 the criticism  
of  ,scudo on the new opera of ,verdi1  
',i ,vespri ,siciliani1' which has just 
been given in ,paris8    ,no1 answered  

,rossini1 rather seriously4    ,a       
regular criticism1 you know2 you should 
read it4 ,it is in the last  number of  
the ',revue des ,deux ,mondes4' ,and    
then they began to repeat  some of these
 opinions of ,scudo's1 with adulation1  
which1 if courteous1  was little        
praiseworthy4 ,but ,rossini interrupted 
them1 saying--    ,they make me laugh   
when they criticise ,verdi in this way1 
and with such  a pen6 ,to write an able 
and true criticism of him1 requires     
higher  capacity and an abler pen4 ,in  
my opinion1 this would require two      
,italian  composers of music who could  
write better than he does himself2 but  
as  these ,italian musical composers who
 are superior to ,verdi are yet to      
come1 we must content ourselves with his
 music1 applaud him when he does  well1 
and here he clapped his hands1 and warn 
him in a fraternal way  when we think he
 could have done better4 ,as he finished
 these words he  seemed a little heated1
 and almost offended1 as if he thought  

that these  people had come to give him 
this news by way of flattering him1 or  
in  order to have the violent criticism 
of ,scudo confirmed4 ,the fact is1 he   
must have already read the criticism    
itself1 as ,i had seen the number  of   
the ',revue' on his table before dinner4
 ,the conversation then  changed1 and   
nothing more was said4    ,sidenote3    
,,visit ,,of ,,the ,,emperor ,,of       
,,russia4    ,about this time the       
,emperor of ,russia1 who was passing    
through ,florence1  honoured me with a  
visit4 ,i should have passed over in    
silence this  fact2 but as it was the   
occasion of a false impression1 by which
 ,i  appeared to be the most stupid and 
ignorant man in the world1 it is  better
 that ,i should narrate exactly what    
occurred4 ,signor ,mariotti1 the  agent 
for the ,russian ,imperial household1   
who1 the reader may remember1  had      
procured for me the commission for the  
marble of ,abel1 sent me word  that     
during the day the ,emperor would come  

to see the ,cain1 which was  already    
finished in marble4 ,i waited for him   
all day2 but towards  evening1 an hour  
before nightfall1 ,i dressed myself to  
go away1 not  believing that any one    
would come at that hour4 ,just as ,i was
 going out  ,i heard a disturbance1 a   
noise of carriages and horses1 and saw  
the  ,emperor stopping at my studio4 ,it
 was nearly dark1 so1 with a stout      
heart1 before he descended ,i went to   
the door of the carriage and said--     
,your ,majesty1 ,i am highly honoured by
 your visit to my studio1 but ,i  fear  
that your ,majesty cannot satisfy your  
desire to see the ,cain1 as it  is      
nearly nightfall1 and ,i should like to 
show this work of mine in a  more       
favourable light4    ,the street was    
full of curious people2 the studios of  
the artists my  neighbours were all     
open1 and they were in the doorway2 the 
ministers of  the ,imperial house put   
their heads out of their carriage to see
 what was  the reason the ,emperor did  

not get out1 and with whom he was       
talking4  ,the ,emperor1 with a benign  
countenance1 answered--    ,you are     
quite right2 one cannot see well at this
 hour4 ,i will return  to-morrow after  
mid-day4    ,i bowed1 and the carriages 
drove on4 ,this stopping of the carriage
 and  its driving on again after a few  
words had passed between his ,majesty   
and myself1 led some ass to suppose that
 ,i had not been willing to  receive the
 ,emperor1 and some malicious person    
repeated the little  story2 but not for 
long1 as the next morning he returned   
with all his  suite4    ,as soon as he  
descended1 he said to me--    ,vous     
parlez franais8    ,trs mal1 ,majest4   
,well1 ,i speak a little ,italian2 we   
will make a mixture4    ,general        
,menzicoff1 ,count ,orloff1 and others  
whom ,i do not remember1  accompanied   
the ,emperor4 ,as soon as he entered the
 studio he took off  his hat1 to the    
great astonishment of his suite1 who all
 hastened to  imitate him1 and remained 

with his head uncovered all the time he 
was  there4 ,he was of colossal build1  
and perfectly proportioned4 ,the        
,emperor  ,nicholas was then of mature  
years1 but he looked as if he were in   
the  flower of manhood4 ,he talked and  
listened willingly1 and tried to enter  
into the motives and conceptions of the 
artist4    ,amongst others he saw a     
sketch of ,adam and ,eve that ,i had    
just made with  the intention of        
representing the first family4 ,he saw  
it1 and it  pleased him4 ,he said it    
would go well with the ,cain and ,abel2 
and from  these words1 one might have   
taken for granted that he had ordered   
it4  ,but ,i have always rather held    
back and been little eager for          
commissions1 so that ,i did not feel    
myself empowered to execute it4  ,then1 
also1 ,i had taken this subject for my  
simple satisfaction1 and  certainly with
 the intention of making it in the      
large1 which ,i did not1  however1 carry
 into effect2 for if ,i had done so1 ,i 

should probably have  offered it to him1
 as he had been so much pleased by the  
sketch4 ,the  ,emperor was most affable 
with me1 and showed a desire to know    
something  about me besides my studies  
and works that he had before his eyes1  
so ,i  satisfied his wishes4 ,nor is it 
to be wondered at that so important a   
person as he was should inquire into the
 particulars of simple  home-life1 for  
he was 7so ,i afterwards heard7 a good  
husband and father4  ,he accompanied the
 ,empress his wife to ,palermo1 as her  
ill health made  it necessary for her to
 be in that mild climate1 perfumed with 
life-giving odours4 ,he married his     
daughter ,maria ,nicolaiewna to the     
,prince of ,leuchtenberg1 who was a     
simple officer in the army2 but as he   
became aware that the young people loved
 each other1 he wished to  procure their
 happiness4 ,a good husband and a good  
father2 pity it is  that one cannot say 
a good sovereign6 ,his persecutions and 
cruelty  towards ,poland1 especially in 

regard to her religious liberty1 and    
even  her language1 which is the        
principal inheritance of a nation1 are  
not a  small stain on that patriarchal  
figure4    ,sidenote3 ,,the ,,emperor',s
 ,,character4    ,if the young reader   
has the good habit of not skipping1 he  
will remember  perhaps the danger ,i ran
 of dying asphyxiated in my little      
studio near  ,san ,simone in company    
with the model1 whilst ,i was making the
 sketch for  the ,abel4 ,now ,i must    
speak of another grave peril that ,i ran
 of certain  death1 had it not been that
 ,divine ,providence sent me help just  
in time4  ,it was the #abth of ,april   
#ahdi3 for some days past a crowd of    
rough and  violent ,livornese had been  
going about our streets with jeering and
  menacing bearing2 and insults1        
violence1 and provocations of every kind
  had not been wanting4 ,that day a     
squad of these brutal fellows1 after    
having eaten and taken a good deal to   
drink1 would not pay their  reckoning2  

there were altercations and blows1 to   
the damage of the poor  man who kept the
 wine-shop2 and as if that were not     
enough1 there were  other gross         
improprieties4 ,this happened in the    
,camaldoli of ,san  ,lorenzo1 at a place
 called ,la ,cella1 where the population
 was crowded  and rude4 ,the cup was    
overflowing1 and at a cry of1 ,give it  
to them6  give it to them6 they fell    
upon these scoundrels2 and although the 
latter were armed with swords 7being of 
the ,livornese national guard7  and     
stilettoes1 they were overwhelmed by the
 rush of the populace1  disarmed1 and   
killed4    ,sidenote3 ,,riot ,,in       
,,florence4    ,this was like a spark1  
and spread like lightning throughout    
,florence4  ,there was a great tumult   
and angry cries for men from ,leghorn4  
,everything served as a weapon2 every   
workman ran out with the implements  of 
his trade1 and even dishevelled ragged  
women ran about like so many  furies    
with cudgels1 shovels1 and tongs1       

screaming1 ,kill them6 kill  them6      
,there were many victims4 ,the soldiers 
who were in the ,belvedere  fortress1 as
 soon as they heard the reports of the  
guns and the cause  thereof1 came down  
from there like wild beasts1 such was   
their hatred  against these people1 from
 whom they had received every kind of   
insult1  even to finding two of their   
companions nailed to the boards of their
  barracks one day--acts that were a    
dishonour to the good reputation of  the
 open-hearted ,livornese1 with their    
free mode of speech and quick           
intelligence4 ,timid people retired and 
shut themselves up in their  houses1 the
 shops were closed1 the streets         
deserted1 and one saw some  people      
running and others pursuing them1 as    
dogs hares2 reports of guns  were heard1
 now close by and now in the distance1  
cries for mercy1 the  drums beating the 
generale1 and the mournful tolling of   
the big  bell1--all of which produced a 
fearful and cruel effect4    ,i lived in

 a house over my studio1 in ,via        
,nazionale1 a short distance  from the  
spot from which came the fatal spark4   
,at the sound of the  beating of the    
generale ,i rushed up into my house to  
arm myself1 to  run to join our company4
 ,my colonel was the ,marchese ,gerini1 
and the  captain ,carlo ,fenzi4 ,my poor
 wife6 ,i see her still crying and      
supplicating me not to leave her1       
saying1 ,what are you going to do8--to  
kill or to be killed8 ,stay here1 and if
 they come to attack us in the  house1  
as they said they would1 then you will  
defend these poor little  ones4 ,i      
yielded2 but ,sarrocchi1 who was in the 
house with me1 in spite  of his father's
 tears and prayers1 would go1 and our   
company went  forward and protected     
these ,livornese ,guards from the fury  
of the  populace as far as the station  
of ,santa ,maria ,novella4 ,the company 
was  led by the second lieutenant1      
,engineer ,renard4 ,i went back down    
into the  studio and tried to work1 but 

could do nothing4 ,that constant noise  
of  running1 questioning1 firing of     
guns1 the beating of the distant        
drums--a dull sound1 strange and        
fearful--had so irritated my nerves     
that ,i walked up and down the studio1  
taking up a book and putting it  down   
again4 ,at last ,i resolved to go home  
again1 all the more so that ,i  had left
 my wife feeling anxious and every      
moment fearing that something  might    
happen to me4 ,i had my studio dress on1
 which consisted of a linen  blouse and 
red skull-cap4 ,just as ,i was going out
 ,i heard some screams1  lamentations1  
and a rush of people4 ,i looked out1 and
 saw a squad of  furious men following  
and beating with sticks a poor          
,livornese1 who1 not  being able to go  
any farther1 fell at the corner of the  
street1 by the  ,caff degli ,artisti4   
,that bloody scene made me ill2 and     
compelled by  compassion for that poor  
young fellow1 ,i ran and thrust myself  
into the  midst of the crowd that       

surrounded the fallen man4 ,he was      
wounded in the  head1 and bleeding      
freely2 one eye was almost put out1 and 
he held one  hand up in supplication1   
but his infuriated assailants beat at   
him as if  they had been threshing corn4
 ,let him alone6 ,stop6 ,good heavens1  
don't  you see that the poor young      
fellow is dying8 ,they turned and looked
 at  me4 ,what does he say8 ,who is he8 
asked these assassins4 ,he is a         
,livornese also1 was the answer4 ,the   
eagerness ,i had shown in favour of     
that unfortunate man1 the red skull-cap 
that ,i wore on my head1 and my  accent 
not being that of a vulgar ,florentine1 
gave strength to that  assertion4 ,from 
the dark look in their eyes and their   
sardonic smiles ,i  became aware of my  
danger1 and wished to speak2 but these  
infuriated  beings screamed out1 ,give  
it to him6 give it to him1 for he is    
also a  ,livornese6 ,i felt that ,i was 
lost4 ,a blow1 aimed at my head1 fell on
 my  shoulder1 and some one spat in my  

face4 ,a person1 whose name ,i do not   
recall1 an ex-sergeant and drill-master 
of our company1 arrived in time  to save
 me4    ,sidenote3 ,,personal ,,danger4 
,stop6 said he--stop6 and with these    
words he interposed and warded  off the 
blows aimed at me4 ,the words and       
resolute action of this man in          
sergeant's uniform carried weight with  
them1 and to put an end to all  this    
excitement he shouted out1 ,i bear      
witness1 on my honour1 that this  is the
 ,professor ,dupr1 sculptor1 corporal in
 our company1 and not at  all a         
,livornese4    ,the crowd had thickened 
more and more1 and in it there were some
 who  knew me and echoed the words of   
this courageous and spirited man1 so    
that ,i was saved4 ,in the meantime my  
scholars1 ,enrico ,pazzi and ,luigi     
,majoli1 armed with long iron compasses1
 had rushed to my succour2 and it  was  
fortunate that they were no longer      
needed1 as1 being young and             
brave-spirited1 and ,romagnoli1 with    

these weapons in their hands1 who  knows
 what might have been the consequence8  
,,chapter ,x4         ,,my ,,wife1 ,,my 
,,little ,,girls1 ,,and ,,my            
,,work--,,death ,,of ,,my ,,brother     
,,lorenzo--,,death ,,of ,,lorenzo       
,,bartolini--,,the ,,base ,,for ,,the   
,,tazza--,,eight ,,years ,,of ,,work1   
,,only ,,to ,,obtain ,a                 
,,living--,,mussini       ,,and ,,his   
,,school--,,pollastrini--,,the ,,school 
,,in ,,via                              
,,sant',,apollini--,,prince ,,demidoff  
,,and ,,the ,,monument ,,by             
,,bartolini--,,the ,,nymph ,,of ,,the   
,,scorpion ,,and ,,the ,,nymph ,,of     
,,the       ,,serpent1 ,,by             
,,bartolini--,,marchese ,,aba--,,count  
,,arese--,,the ,,four       ,,statuettes
 ,,for ,,demidoff--,,amerigo ,,of ,,the 
,,prince ,,corsinis--,,his       ,,royal
 ,,highness ,,count ,,of ,,syracuse1 ,a 
,,sculptor--,,sant',,antonino           
,,statue ,,at ,,the ,,uffizi4      ,the 
events of that day already belong to    

history1 and it is not for me  to       
narrate them4 ,those of the ,livornese  
who could escape from the fury  of the  
populace were part of them shut up in   
the ,fortress da ,basso1 and  part of   
them packed like anchovies in the       
railway-carriages4 ,guerrazzi  was      
imprisoned in the fortress of the       
,belvedere1 and the reins of the        
government were provisionally put into  
the hands of the ,municipality1         
,ubaldino ,peruzzi being gonfaloniere4  
,that same evening the ensigns of       
liberty that the republicans had hoisted
 in the piazze and the  street-crossings
 in ,florence1 were torn to the ground4 
,thus ended the  enormities of these    
so-called democrats1 who were in fact   
only the scum  and unrestrained rabble  
of the flourishing and active city of   
,leghorn4    ,in the meantime affairs in
 my studio went from bad to worse4 ,the 
political vicissitudes1 the uncertainty 
of the present1 and fears for  the      
future1 preoccupied every one1 and no   

thought was given to the  ,arts4 ,i had 
no work to do1 and lived a secluded life
 of poverty with my  little family1     
fearing that the apprehensions of my    
poor wife would be  realised3 often we  
were in need even of the mere           
necessaries of life1  and one thing     
after another went to the monte di piet 
in order to  supply our most pressing   
wants4 ,sorrows1 disillusions1 and      
mortifications were not wanting3 one of 
my children died1 the only boy  that ,i 
ever had2 the statue of ,pope ,pius     
,,ii4 that ,i had made for ,siena  was  
despised and kept shut up in its box for
 month after month1 the  aversion taken 
to it being1 they said1 occasioned by   
the disaffection of  ,pius ,,ix4 ,what  
,pius ,,ii4 had to do with ,pius ,,ix4  
,i do not know4    ,sidenote3 ,,the     
,,grand ,,duke ,,returns4    ,the ,grand
 ,duke returned2 but the joy felt for   
his return was embittered  by the       
presence of foreigners1 and thence there
 were fears1 suspicions1  and           

ill-repressed rage1 so that ,art        
suffered in consequence--,art1 that     
lives and breathes in the quiet and     
life-giving atmosphere of peace4        
,sidenote3 ,,design ,,of ,a ,,casket    
,,for ,,the ,,grand ,,duke4    ,the     
,grand ,duke having returned1 ,i went to
 make my bow to him4 ,he  received me   
with his usual kindness1 and asked me   
about my works and my  family4 ,i spoke 
out sincerely to him1 touching lightly1 
not to distress  him1 on my misfortunes4
 ,he remained thoughtful1 and dismissed 
me with  benevolence4 ,some days after1 
he sent his secretary ,luigi ,venturi   
for  me1 and talked at length with me   
about works that he was thinking of     
giving me4 ,in the meanwhile1           
remembering that in times gone by ,i had
  occupied myself with wood-carving1 he 
asked me if ,i could make or direct     
some work that he was thinking of having
 executed for a present he  wished to   
make to his daughter ,princess          
,isabella1 who was to be married  to    

,prince ,francesco of ,naples4 ,already1
 before ,isabella1 his eldest  daughter1
 the ,princess ,augusta1 to whom he had 
given my two little  statuettes of      
,dante and ,beatrice1 had been married4 
,the work for the  ,princess ,isabella  
was1 however1 of an entirely different  
kind1 being a  casket for jewels4 ,i    
accepted this commission with gratitude1
 although  it was not a real work of    
sculpture2 but remembering that our old 
artists had executed works of the same  
kind1 and that ,baccio d',agnolo1 a     
famous architect1 used to make the      
cassone that contained the  trousseau of
 the young ,florentine brides1 and      
gloried in signing himself  ,baccio     
d',agnolo1 carpenter1 ,i was contented4 
,and besides1 to speak my  mind clearly1
 it is not the material or the thing    
itself that counts for  anything4 ,a    
little terra cotta of ,luca della       
,robbia1 or an intaglio  of ,barili1 is 
worth more than a hundred thousand      
wretched statues in  marble or bronze4  

,i therefore made and showed him the    
design for the  casket4 ,in shape it was
 rectangular1 and stood on two squares1 
ornamented on all sides2 the cover was  
slightly elevated1 and on the top  was a
 group of three figures representing    
maternal love2 in the six  spaces were  
six subjects taken from the ,bible      
representing holy  marriages4 ,these1 ,i
 thought1 were real jewels--family      
jewels4 ,they came  in order as follows3
 ,adam and ,eve in the terrestrial      
paradise before the  ,fall1 ,isaac and  
,rebecca1 ,boaz and ,ruth1 ,esther and  
,ahasuerus1 ,tobit and  ,sarah1 ,david  
and ,abigail4 ,the ,grand ,duke liked   
the idea and the design1  and asked me  
in what wood ,i should carve it4 ,i     
answered1 in ivory1 for  two reasons3 on
 account of the smallness of the        
figures1 which would not  admit of      
another material2 and then because ivory
 is in itself  beautiful1 rich1 and most
 adapted for this kind of work4         
,fortunately1 it  was not necessary to  

look for the ivory1 as in the ,grand    
,duke's  laboratory there was a most    
beautiful elephant's tusk4 ,he gave it  
to  me2 and after having cut it up into 
as many pieces for the formelie1        
cornice1 and lamine as were required for
 this work1 there remained a  large     
piece1 which ,i still keep4 ,i set      
myself to the task1 and worked  with a  
will1 as the marriage of the ,princess  
was soon to take place4 ,in  the        
construction of the square ,i employed a
 man from the cabinetmaker's1  ,ciacchi2
 for the ornaments1 ,paolino ,fanfani1 a
 clever wood-carver and my  good friend1
 whom ,i had known when a boy in ,sani's
 shop1 where ,i used to  work at        
wood-carving4 ,two poems by ,luigi      
,venturi1 ,lo sposo1 la sposa e  gli    
sposi1 which form part of his poem      
,l',uomo1 were placed inside of  the    
box4    ,sidenote3 ,i ,,am ,,dispirited4
    ,and here ,i am at work4 ,consider1 
friendly reader1 if you are an artist1  
and after long study and anxiety have   

ever obtained the hoped-for             
compensations and triumphs1 the more    
deserved because so earnestly  laboured 
for1 that you now see an artist         
occupied1 on a work difficult  indeed1  
but very far from being of that ideal   
greatness that his hopes  and the       
applause previously given him have led  
him to anticipate and  desire4 ,the     
smallness of the work1 the material1 and
 even the tools for  working it1        
reminded me of the humbleness of my     
origin4 ,i felt sick at  heart1 and then
 flashed into my mind the fear that ,i  
might be obliged to  return to          
wood-carving4 ,not that ,i despised that
 art--,i have already  said the material
 is of no account2 but ,i wanted to be a
 sculptor1 and  meantime ,i had nothing 
to do1 and my family looked to me for   
support4  ,this thought gave me         
strength1 drove away the golden dreams  
of the  future1 even the memory of the  
smiling past1 and ,i worked all day long
  and part of the night4 ,my poor wife1 

who was always so good and active1      
attending to the household economy and  
to the education of our little  girls1  
comforted me with her simple and        
affectionate words4 ,sometimes1         
returning home with the children1 she   
would stop to see me1 and would  look at
 and praise my work1 and perhaps1       
because it reminded her of our  early   
years1 would say--    ,sidenote3        
,,family ,,difficulties4    ,beautiful  
this work1 is it not1 ,nanni8    ,yes2  
do you like it8    ,yes4    ,but in this
 exchange of loving words there was a   
certain sadness1 and  although it did   
not appear on the surface1 yet the ear  
and eye of him  who loves hears and sees
 what is hidden below4 ,we remained     
silent1 and  she1 taking the little     
girls by the hand1 said good-bye to me1 
and ,i was  deeply moved1 and resumed my
 work4    ,added to all this1 we were   
preoccupied about my sister1 who would  
not  remain any longer in the           
,conservatorio of ,monticelli1 and could

 not  return to my house on account of  
incompatibility of temper between her   
and my mother-in-law4 ,at last ,i       
arranged that she should be with my     
father2 and this proved satisfactory1 as
 he thus had some one to look  after his
 house1 and she some one to lean upon4  
,as soon1 however1 as  this was settled1
 we had other troubles1 and of a graver 
kind--my  brother's illness4 ,already   
for some time past1 after the work in   
the  studio had fallen off1 the         
maintenance of this brother had been a  
serious thing to me2 but with a little  
sacrifice and a little goodwill1  this  
difficulty had been got over1 and the   
hope of better days kept up  the courage
 in both of us4 ,but he constantly grew 
worse1 and we had no  hope of his       
recovery4 ,in his wanderings he always  
spoke about me and my  works1 and it    
seemed as if his mind at times was      
clearer and more  active4 ,perhaps this 
is so because the soul feels the day of 
its freedom  approaching1 and is        

breaking the chains which bind it to the
 body1 and  drawing nearer to its       
immortal life4 ,we say that it is       
wandering1  because we do not understand
 it2 the veil of the flesh obscures our 
spiritual vision1 and we cannot         
comprehend the meaning of the strange   
and mysterious words we use4 ,having    
partaken of the blessed ,sacrament1  he 
expired1 at peace with ,god1 in the     
first days of ,january #ahej4 ,my  poor 
brother6 poor ,lorenzo6 strong and      
handsome of person2 open and gay  of    
nature1 and generous-hearted2 loving    
work and not minding fatigue1  with a   
frank sincere smile that often came to  
soften the sharpness of  his words4 ,in 
those days a man of high intellect and  
great spirit1  burning with a love for  
all that was truly beautiful1 also left 
us4  ,lorenzo ,bartolini died1 after a  
few days' illness1 of congestion of the 
brain1 not young in years1 but always   
very young in his affections and        
inspirations4 ,some moments before he   

was overtaken by illness1 he was        
working on the marble with the energy   
and precision of a man in the  prime of 
life4 ,whatever was the cause1 he was   
taken ill1 and neither the  efforts of  
science1 nor the love of his family1 nor
 the interest and  concern of every one1
 was able to save him4 ,he was          
universally lamented1  even by those who
 disliked him2 for genius1 though at    
first it may  irritate the weak1 in the 
long-run commands admiration and love4  
,sidenote3 ,,death ,,of ,,bartolini4    
,his works remain as an example of the  
beautiful in nature1 which is the       
mainspring of ,art4 ,in the foregoing   
pages ,i have already touched on his    
character as a man4 ,i have also        
mentioned the reasons why he kept me at 
a distance2 and now it is pleasant for  
me to remember that some time  before   
his death he became reconciled to me1   
and the reconciliation took  place in a 
most singular and casual way4 ,one      
evening at ,fenzi's house1  after       

dinner1 we were all assembled in the    
billiard-room playing pool3  there were 
also some ladies1 who were not kept away
 by the cigar-smoke4  ,bartolini came   
in2 and ,carlino ,fenzi1 as soon as he  
saw him1 went  forward to meet him1 and 
said--    ,sidenote3 ,,anecdote ,,of    
,,bartolini4    ,good evening1          
,professor4    ,accidenti to all        
,professors6    ,what kind of a speech  
is this8 ,have ,i offended you8         
,offence or no offence6 ,i have said    
accidenti1 and 444 if you don't  know   
anything1 go and learn2 and with this he
 passed into the other  rooms4 ,carlino 
stood there as if he had been made of   
stucco1 and turning  to me said--       
,but what stuff is this8 ,do you        
understand anything about it8    ,dear  
,carlino1 ,i answered1 ,i understand it 
all1 and will tell you at  once4        
,bartolini does not wish to be called   
,professor4    ,what6 but is he not     
,professor ,bartolini8    ,that he      
is1--a ,professor1 and one of the most  

able1 and perhaps the  oldest of them   
all2 but he has a dislike to be called  
so1 because he  says all ,professors are
 asses4    ,this may be1 and may not be1
 replied ,carlino1 but ,i knew nothing  
about it2 and besides1 how does he wish 
to be called8 ,a ,cavaliere8 ,it  seems 
better to me to be an honourable        
,professor than a ,cavaliere4    ,no1 my
 dear fellow1 not even a ,cavaliere1    
although he does not at all  dislike    
being one1 as you see he wears the      
ribbon of his order  constantly in his  
button-hole4    ,well1 what then8    ,he
 wishes to be called master1 ,i         
answered4    ,dear1 dear6 oh1 this is   
beautiful6 ,and ,i1 who knew nothing    
about it1  what fault is it of mine8    
,does it seem to you proper or well-bred
 to  come out with that word before     
everybody1 even before ladies8 ,to me it
  seems not only not like a master1 but 
not even like a schoolboy4    ,sidenote3
 ,i ,,reprove ,,bartolini4    ,have     
patience1 ,carlino1 and don't let us    

talk any more about it3 bury  it under a
 stone1 and leave it alone4 ,listen6    
they are calling out your  number2 and  
so the matter ended4    ,the day after1 
,i had a model1 ,tonino ,liverani1      
called ,tria--a beautiful  model1 and   
,bartolini's favourite one1 the same    
from whom he modelled  when making his  
group of the ,astyanax4 ,half an hour   
before mid-day he  said to me--         
,signor ,giovanni1 would you be so kind 
as to send me away a quarter of  an hour
 earlier to-day8 ,i must be at the      
maestro's at twelve o'clock4    ,i      
replied1 ,certainly--of course2 dress   
yourself at once and go2 do not  keep   
him waiting4    ,whilst ,tria was       
dressing1 ,i thought over the accidente 
or the  accidenti on the previous       
evening1 and if that horrid word did not
 go  down with ,carlino because it was  
said at his house1 neither did it       
please me1 for in my quality of         
,professor it wounded me more than it   
did  him4 ,but1 in fact1 joking apart1  

,i was really grieved to see such a     
great man descend without any cause to  
the use of such puerile and  unbecoming 
expressions1 the more so that he was    
made an object of  ridicule because     
,carlino took the matter seriously4 ,i  
said to myself1  ,shall ,i send him a   
message or let it go8 ,if ,i let it go1 
he will think  that ,i am afraid to say 
what ,i feel1 or that ,i am so          
weak-minded as to  think that sally of  
his the most natural thing in the world3
 in the one  case1 as in the other1 ,i  
shall cut a bad figure1 and ,bartolini  
despises  men who are afraid or stupid4 
,then1 too1 who knows if a frank sincere
  word1 spoken at any rate with respect 
and reason1 such as ,i should say1      
would not do him good8 ,all depends on  
,tonino's reporting it straight4        
,sidenote3 ,,base ,,of ,,table ,,of     
,,the ,,muses4    ,have you any orders1 
,sor ,giovanni8 ,when shall ,i return8  
said ,tonino4    ,listen1 ,tonino2 you  
must do me the kindness to say to the   

maestro1  that last night he let fall   
from his mouth a word that displeased   
me1  because those who heard it did not 
know why he used it1 and having heard   
his reason did not appreciate it4 ,take 
care6 not a word more or less1  and     
don't make a mistake4    ,and having    
gone over his lesson two or three times1
 he repeated it quite  right4    ,you   
will return to-morrow morning at nine   
o'clock if ,bartolini will let  you1 and
 then you will give me his answer4      
,the day after1 at nine1 ,tria appeared 
and said to me--    ,i told the maestro1
 you know4    ,well1 what did he answer8
    ,he replied in these words3 ',you   
must say to ,dupr that ,i thank him4 ,i 
also was aware that ,i had done wrong1  
but it was too late4 ,salute him4'      
,some evenings afterwards ,i saw him    
again at ,fenzi's house3 ,i was playing 
billiards4 ,he shook my hand and said   
,good evening1 a thing he had not  done 
for a long time4    ,sidenote3          
,,description ,,of ,,my ,,design4       

,after the little ivory casket that ,i  
have already spoken of1 the ,grand      
,duke ordered me to compose a base for  
the famous ,table of the ,muses in      
pietra dura that is in the ,palazzo     
,pitti4 ,this work made me happier1  as 
,i was free to imagine and execute it in
 the manner ,i thought best1  and a rich
 and elaborate subject occurred to me at
 once4 ,the ,table of  the ,muses is    
round2 in the centre is ,apollo driving 
the chariot of the  sun1 and encircling 
him are the attributes of the ,muses4   
,as the artist  who made the top of the 
table had taken for his subject ,apollo 
as the  father of the ,muses1 ,i in my  
work gave to him the attributes of the  
sun1  as fertiliser of the earth4 ,in   
the base immediately under the table1 ,i
  preserved its circular form1 throwing 
out at the top a sort of capital        
supported by jutting brackets1 and      
richly ornamented4 ,beneath this is a   
cylinder covered with figures of        
children 7putte7 engaged in the rural   

occupations and pleasures of the various
 seasons4 ,in the spring they are       
sporting1 and playing on instruments1   
and dancing among flowers2 in the       
summer they are cutting and bringing in 
the corn2 in the autumn they are        
harvesting and treading grapes2 in the  
winter they are digging1 hoeing1  and   
sowing4 ,this cylinder thus storied over
 is set upon a large disc  with         
mouldings and bevelled slope1 upon which
 the ,seasons are seated1 in  varied    
attitudes1 and weaving a garland of the 
flowers and fruits which  the earth     
produces during the year4 ,spring is    
peacefully sitting1  lightly draped1    
crowned with daisies1 and holding her   
head somewhat  elevated1 to express the 
reawakening of ,nature4 ,summer has her 
torso  nude1 is crowned with ears of    
corn1 and is more robust of form than   
the  others4 ,autumn is crowned with    
grapes and vine-leaves1 entirely        
dressed1  but without a mantle4 ,winter 
is crouching down1 pressing her knees   

together1 is entirely enveloped in her  
mantle1 has a cloth on her head1  and is
 expressive of cold4 ,the garland which 
unites the figures is  hidden behind    
,winter1 is more slender1 and composed  
solely of fruits4  ,each of these four  
figures seated upon the disc stretches  
forth a foot  upon a projecting ledge or
 bracket1 which is in plumb beneath the 
upper  brackets1 which support the      
capital2 and these four lower brackets1 
making part of the disc and jutting     
forth from it1 form the base and  foot  
of the entire column4 ,in the spaces    
between the figures on the  upper       
bevelled slope of the disc1 ornaments   
with the attributes of the  elements are
 carved--for the earth a growth of      
acanthus-leaves1 for the  water a       
dolphin1 for the air an eagle1 for the  
fire a vase with flames4  ,full of      
goodwill1 ,i put my hand to the work    
with new hopefulness4 ,i  remember those
 days of a new awakening within me of   
interest in my art1  and trust in       

,providence for the support of my little
 family1 which had  been increased by   
the birth of ,luisina1 dear little      
angel1 whom ,god took  to ,himself      
again1 now some four years ago4 ,in     
going from us1 she left  behind her the 
memory of her rare virtues1 that softens
 the bitterness  of our great loss4 ,my 
poor little angel1 pray for us4 ,my eyes
 are dim  with tears1 but ,i feel how   
true it is that sorrow only rekindles   
the  light of faith4    ,sidenote3 ,,in 
,,better ,,spirits4    ,i worked with   
true enthusiasm1 getting up at an early 
hour1 and after a  slight breakfast with
 my family1 going down into the studio1 
which was  almost under my own room4 ,i 
kept note of all my expenses1 to have   
some  idea of the price ,i should ask   
for my model1 as it was his ,highness's 
intention to have it cast in bronze4 ,i 
was very light-hearted1 as ,i have      
already said2 and the principal reason  
for my being so was1 that ,i saw  by    
means of this work the bread for my     

family was provided for4 ,i had  not put
 aside a soldo1 and the various works ,i
 had made during eight  years--that is  
to say1 from '#db to '#ej--;had yielded 
me barely enough to  live upon1 because 
the inevitable expenses of housekeeping 
had absorbed  all the little ,i had     
beyond4 ,i lived day by day1 hoping     
always that  fortune would smile upon me
 as in my early years2 and now with this
 work  of the pedestal for the table1 ,i
 felt at ease4    ,i have thought it    
opportune to enter into these minute    
particulars1 that  the young artist may 
learn two things from them3 first1 not  
to give  himself up with too much       
assurance to the joys of early triumphs2
 and  secondly1 not to get discouraged  
in the bitter days of want and          
disillusions1 when he feels himself     
forsaken4 ,i know so many young men  who
 become dejected at once1 and inveigh   
against adverse fortune1  against the   
injustice of men and their neglect1 and 
other phrases  equally idle1 proud1 and 

foolish4    ,sidenote3 ,,mussini',s     
,,works4    ,my studio was no longer    
what it used to be at one time--no      
longer the  place of rendezvous of      
applauding friends and admirers who     
followed the  fashion of the moment2    
these all went about their own affairs1 
and had  nothing more to do with me4    
,some of the most distinguished amongst 
them1  after the ,restoration1 were     
refugees1 some in one place1 some in    
another4 ,venturi was the only one who  
remained1 and he came often to see  me1 
and we talked at length about ,art4     
,ciseri also was a good and  faithful   
friend1 and used to come to take me for 
a long walk in the  evening4 ,mussini1  
whom ,i had known a short time before1  
first left for  ,paris1 and then        
returned to go to ,siena as ,director of
 the ,institute of  ,fine ,arts there1  
where he still teaches1 and from his    
admirable school  have come such famous 
artists as ,cassioli1 ,franchi1         
,maccari1 and  ,visconti1 who died a    

miserable death from drowning at ,rome4 
,sidenote3 ,,mussini',s ,,character     
,,and ,,fortunes4    ,i knew ,mussini in
 #ahdd1 when he had finished his four   
years of  pensionat1 and was on his     
return from ,rome4 ,mussini was then a  
remarkable young artist1 having gone    
through a varied and severe course  of  
study4 ,his compositions were serious   
and careful1 and as a  draughtsman he   
followed the style of our ,florentine   
school of the  quattrocento4 ,those     
qualities he showed in his first        
pictures1 the  ,expulsion of the        
,profaners of the ,temple1 ,sacred      
,music1 and the ,allegory  of           
,almsgiving4 ,in his last sketch1 which 
he made in ,rome1 ,abelard and  ,helose1
 he changed a little from his first     
manner1 or ,i should better  say from   
his first method3 in the ,abelard he    
followed the modern  ,german            
school--,overbeck perhaps4 ,as soon as  
he had returned to ,florence  he set to 
work on his ,triumph of ,truth1         

abandoning his first views1  enlarging  
his style1 freshening his colouring1 and
 taking his  inspiration from ,leonardo 
and ,raphael4 ,we became friends4 ,he   
was rather  a small thin young man1 with
 black hair1 black eyes1 and olive      
complexion4 ,in his conversation he was 
vivacious1 sententious1 and  decided2 an
 admirer of ,phidias and ,giotto above  
all others2 also of  ,raphael1 ,michael 
,angelo1 and1 in modern times1 of       
,ingres and ,bartolini4  ,his           
companionship and friendship were of    
great use to me on account of  his frank
 and sound advice on ,art4 ,he went for 
some time to ,paris1 and  returned1 as  
,i have already said1 to occupy the     
place of ,director of the  ,institute of
 ,fine ,arts at ,siena--a post that he  
had begged me to ask for  in his name2  
and in this way ,i lost the friendship  
of ,enrico  ,pollastrini1 who had asked 
for it for himself4 ,as soon as ,i heard
 that  the post was vacant by the death 
of ,menci1 ,i advised ,mussini by letter

  to apply for it4 ,he answered me at   
once1 thanking me for my advice1 but    
adding that at present he did not wish  
to leave ,paris4 ,two days after1  in   
another letter he told me he had changed
 his mind1 and begged me1 as  ,i have   
said1 to make an application in his     
name4 ,pollastrini1 who knew  neither of
 my advice and counsel to ,mussini nor  
of my having asked for  the post for    
him1 came to see me1 to get me to       
promise that ,i would  support him in   
his demands for the place4 ,poor        
,enrico6 he died but a few  months ago4 
,he was an excellent man1 affectionate1 
and ready to serve a  friend1 but       
mistrustful and irascible4 ,he would    
take offence at a mere  nothing1 and    
once in that vein1 he was capable of not
 bowing to you for  some time4 ,i did   
not like him the less for all this4 ,he 
never did any  harm to anybody2 and ,i  
believe he would not have killed even a 
fly1 much  less have been of injury to  
any one4 ,may ,god give his soul peace6 

,he  came1 therefore1 to see me and get 
me to pledge myself in his favour2  and 
when he heard that ,i had recommended   
the nomination of ,mussini--for  by my  
petition it was to be understood that ,i
 supported him--he was  annoyed1 and did
 not hide his resentment1 saying that he
 should not have  expected me to show   
this preference1 or to put another      
before him4 ,i  answered that ,i knew   
nothing about his having asked for the  
nomination1  and that what ,i had done  
had been from a desire that a clever    
artist1  and one so able to teach1      
should not remain in a foreign land4    
,these  reasons1 instead of bringing    
persuasion to him1 only embittered him  
the  more1 and he was angry with me for 
a long time4 ,but below the surface     
poor ,enrico cared for me1 and has shown
 it in a thousand ways4    ,sidenote3   
,,mussini',s ,,principles ,,in ,,art4   
,i have said that ,mussini was a master 
of sound and true principles in  ,art2  
and so he is still1 for his school at   

,siena has produced1 and  produces1     
excellent results4 ,beyond these        
principles1 he had the power  of        
communicating and exemplifying them to  
others1 and this is a most  important   
and invaluable faculty in a teacher4    
,before he left for ,paris1  he kept a  
school in ,via ,sant',apollonia1 where1 
amongst other scholars1 ,i  remember a  
certain ,pelosi di ,lucca1 ,gordigiani1 
and ,norfini1 now  painters of repute4  
,he begged me to take the direction of  
his school1  and ,i accepted1 not       
without observing to him that ,i had not
 the  necessary qualities for that      
place2 but he insisted1 and ,i yielded4 
,things1 however1 went as it was natural
 they should go2 the school  lingered on
 awhile1 and after a few months was     
broken up4    ,sidenote3 ,,gordigiani',s
 ,,talent ,,for ,,sculpture4    ,as it  
seemed to me1 from his drawing1 that    
,gordigiani had talent for  sculpture1  
,i advised him to give himself up to    
that art1 and he readily  came to my    

studio and began to model with goodwill4
 ,but1 either because  the material he  
had to handle was difficult to manage on
 account of its  novelty1 or because    
impatience got the better of him1 one   
fine day he  threw his tools and work to
 the ground1 and would have nothing more
 to  say to them4 ,he gave himself up to
 painting portraits1 and succeeded so   
well that he has now become the         
portrait-painter most praised amongst   
us1 and has made for himself a really   
enviable position4 ,nevertheless1 ,i    
believe that if he had had a little     
constancy1 he would have succeeded  as  
well in sculpture as in painting1       
because few understand as well as  he   
does the form and relation of planes4   
,sidenote3 ,i ,,refuse ,,to ,,finish    
,,bartolini',s ,,statues4    ,at this   
time ,i had a commission to finish in   
marble two statues by  ,bartolini that  
he had left unfinished2 the ,nymph and  
the ,scorpion for  the ,emperor of      
,russia1 and the ,nymph and the ,serpent

 for the ,marchese  ,ala-,ponzoni of    
,milan4 ,with regard to this there were 
certain ill-natured  reports against me 
that ,i think best to clear up4 ,some   
time before1  ,prince ,demidoff had     
engaged and even begged of me to finish 
some of the  figures of the great       
monument to his father that ,bartolini  
had left  incomplete4 ,i would not      
accept this commission1 because the     
master had  worked on them a great deal 
himself1 and it seemed to me irreverent1
 and  not a thing to be done1 to        
continue and finish his work4 ,i        
endeavoured  to make the ,prince        
understand that as ,bartolini had worked
 upon it  himself1 and the work was so  
well advanced1 it had more value left as
  it was than if it were finished by my 
hand1 be it even with all the love  of  
an artist4 ,the ,prince did not appear  
to be much persuaded by this  reasoning1
 and insisted1 saying that my principles
 in art were the same  as those taught  
by ,bartolini1 and the veneration felt  

by me for him was  a pledge of the love 
,i would employ in finishing these      
figures4 ,i  thanked the ,prince for the
 too great confidence he placed in me as
 an  artist1 but ,i begged of him not to
 insist in carrying out this idea of    
having the work finished1 either by me  
or by any other--for he1 in order  to   
force me to accept1 said that otherwise 
he should give it to some one  else1 and
 added 7exaggerating out of kindness my 
worth in art7 that it  would be my fault
 if it chanced that the artist was not  
fully equal to  the arduous enterprise4 
,i answered that ,i thought other       
artists abler  than myself1 but was of  
opinion that the statues ought to be    
left as  they were4 ,in order to        
convince him1 ,i reminded him1 as an    
example to  the purpose1 of the ,medici 
monuments in ,san ,lorenzo1 before which
 no one  would dare to say1 ,what a pity
 these figures are not finished6 if he  
did not say it with regard to ,michael  
,angelo himself4 ,and if1 instead1  they

 had been finished by other hands1 with 
a good reason he would curse  ,clement1 
who1 after having betrayed his country1 
had wished to offer  this offence to art
 and ,michael ,angelo's fame4 ,this1    
,god be praised1  cannot be said1       
because the statues of ,day and ,night  
are just as that  divine master left    
them4 ,these words1 said with the       
conviction and the  warmth of an artist1
 who was a poor one to boot1 and wishing
 and longing  for fame and fortune1 so  
entirely convinced the ,prince1 that he 
was  quite satisfied2 and pressing my   
hand in silence1 which was more         
eloquent than words1 he left me4        
,sidenote3 ,,restoration ,,of           
,,bartolini',s ,,statue4    ,if this    
conduct of mine was praised by some     
people in the hopes that it  had not    
been quite liked by the ,prince1 my     
acceptance of the order for  the two    
statues for the ,emperor and the        
,marchese ,ala afterwards1 gave  rise to
 a number of remarks3 ,see his          

consistency of principles and  opinions6
 they said4 ,how is it that the same    
reasons that were held  out for his     
refusing the figures in the ,demidoff   
monument do not hold  equally good for  
these8 ,are these not also statues of   
,bartolini's1 and  to be finished in the
 same way as those8    ,and here ,i come
 to an explanation of this point1 where 
it would seem as  if ,i had been in     
contradiction with myself4 ,on one of   
these statues1 the  ,nymph and the      
,scorpion1 for the ,emperor of ,russia1 
,bartolini had never  worked with his   
own hands--in fact1 it was not finished1
 not even  blocked out4 ,on the other1  
for the ,marchese ,ala1 he had worked1  
but how8  ,the head1 where he had wished
 to make a change in the arrangement of 
the  hair1 had been so cut away that    
there was a finger's-breadth of marble  
in the blocking-out points wanting on   
each side1 so that it was ugly to  see2 
and in addition to this1 he had bent the
 forefinger of the left  hand that rests

 on the serpent under the palm of the   
hand1 perhaps  because in undercutting  
it the last joint of the finger had been
 broken4  ,now this finger1 bent back   
and dislocated1 looked very badly1 when 
compared with the model in plaster1     
where the fingers were all extended1    
and pressed upon the serpent's neck     
admirably4 ,i therefore accepted both   
these commissions1--the one because it  
had never been touched by  ,bartolini's 
own hand1 and the other because ,i was  
willing and able to  put it straight4   
,however1 before touching the statue1 ,i
 made the  ,marchese ,ala acquainted    
with the serious defects there were in  
it1 which  ,bartolini would certainly   
have remedied had he had the time to    
finish  it2 and ,i asked for his        
permission 7and on this condition alone 
accepted  the work7 to cut off all the  
top of the head with the locks of hair  
where it had been injured1 in order to  
replace it exactly in the way  that     
,bartolini had first imagined and       

modelled it1 and to add a piece of      
marble to the hand to remake the        
forefinger4 ,he consented to these      
conditions4 ,in order to make sure      
myself that ,i was right1 before        
cutting away the defective parts1 ,i had
 a mould and cast taken from  them1 that
 any one might see how they stood before
 ,i touched them1 and  how by taking the
 original model for my guide1 ,i had    
replaced them3 and  ,i then said 7as ,i 
now write71 that all who were sensible  
and reasonable  understood and were     
satisfied2 as to the others1 ,i do not  
know what they  thought1 nor did ,i care
 for them then1 nor do now4 ,i finished 
the two  statues1 copying the original  
models where these were carefully       
finished1 and interpreting them where   
they were barely indicated1  selecting  
suitable models from life2 and so ,i    
satisfied those who  trusted in me1 and 
my own conscience4    ,sidenote3        
,,statue ,,of ,,innocence4    ,some time
 previous to this the ,marchese ,ala had

 given me an order for  the ,sleep of   
,innocence--a statue of a child         
sleeping--which ,i had  already executed
 a long time before for my excellent    
friend the ,marchese  ,alessandro       
,bichi-,ruspoli of ,siena4 ,i therefore 
repeated this child in  marble by       
commission of the aforesaid ,marchese   
,ala2 but being rather  changeable1 he  
afterwards declared to me that this work
 did not entirely  satisfy him1 although
 it was conscientiously done1 and that  
he should  take it only because he had  
engaged to do so4 ,i answered that ,i   
wished  my works to be taken because    
they were liked1 not because they were  
ordered1 and begged that he would not   
speak of it again4 ,he thanked me1  and 
promised to give me another order for   
portraits of his three pretty  little   
children2 but subsequently ,i heard     
nothing more about it4 ,one  day1 being 
in ,turin1 and finding myself at ,vela's
 studio1 where ,i had  gone to pay him a
 visit1 ,i saw a very graceful little   

portrait-group1  full length1 such as   
that able artist knew how to make and is
 in the  habit of making4 ,i asked1 ,who
 are these pretty children8             
,sidenote3 ,,the ,,marchese ,,ala4      
,they are the children of ,marchese     
,ala1 replied ,vela4 ,it is already     
some time since he ordered this work1   
but he has not yet put in an            
appearance4 ,i have written him so many 
letters1 to which ,i have received  no  
answer1 that ,i don't know what to      
think4    ,i then recounted to him what 
took place about my little ,putto1 and  
the  promise he had made of giving me an
 order for the little group4 ,vela      
answered that he was astonished and     
annoyed2 but as the commission had  been
 given to him1 and the model was in     
plaster1 he begged me to speak  to the  
,marchese in order that he might be able
 to finish the work4 ,i do  not know    
whether ,vela ever did put the group    
into marble4    ,as regards myself and  
compensation for the affair of the      

,putto1 which  had been left hanging for
 so many years1 he took my ,bacco della 
,crittogama2 but as the ,marchese was   
subject to very long periods of         
melancholy that prevented his thinking  
about anything for a good while1  ,i    
heard nothing more on the subject1 until
 one day ,count ,arese1 to whom  ,i     
began to speak about this affair1 said  
to me--    ,leave the matter to me4     
,write me a letter giving me an account 
of this  affair1 and ,i will send you   
the money4 ,i have business relations   
with  the ,marchese ,ala1 and will send 
him your receipt1 and there will be an  
end to it4    ,sidenote3 ,,statuettes   
,,of ,,petrarch ,,and ,,laura4    ,i did
 as he said1 and was satisfied4 ,what a 
pity it is that that most  noble        
gentleman was so often afflicted by such
 a malady6 ,he was and is  one of the   
most intelligent and generous patrons of
 art4 ,the first  ,italian and foreign  
painters and sculptors had co-operated  
to make his  house splendid and enviable

 for its works of art4    ,as ,i have   
already said1 ,demidoff kept these      
statues just as ,bartolini  had left    
them1 and placed them in his villa of   
,san ,donato4 ,one evening  after       
dinner1 as we were walking together     
through its magnificent  apartments1 he 
stopped in one of the little            
sitting-rooms and said to  me--    ,your
 little statuettes of ,dante and        
,beatrice would look well here on  small
 pedestals in the corners2 but there    
ought to be four4 ,and you may  complete
 the number1 by making a ,petrarch and  
,madonna ,laura1 if you  like4    ,i    
should like to do so4    ,and ,i made   
these other two statuettes4 ,at present 
,i do not know who has  them2 they were 
sold at ,paris a few years ago1 together
 with a great  many other works of art  
belonging to the ,prince4    ,the       
dinners that the ,prince gave in that   
magnificent and enchanting  house were  
most splendid4 ,i met there1 besides    
strangers that ,i do not  speak of1     

,matas1 the ,prince's architect1 ,baron 
,gariod1 my good friend  ,professor     
,zannetti1 ,prince ,andrea ,corsini1 and
 that dear son of his1  young ,amerigo4 
,one evening we were playing billiards  
together1 and  having finished our game 
of carolina1 he said to me--    ,come   
away2 let us take a turn through the    
rooms2 and looking at and  talking about
 his statues of ,pradier1 ,bartolini1   
and ,powers1 the  stupendous            
,fiamminghi1 the ,canalettis1 ,titian1  
,greuze1 the arrases in  the large hall1
 the columns of malachite1 remarkable   
both for their size  and finish1 and a  
thousand other objects of exquisite     
taste and great  cost1 the young man's  
eyes sparkled with joy and enthusiasm1  
and looking  me steadily in the face1 he
 said--    ,sidenote3 ,,death ,,of ,,don
 ,,amerigo4    ,i am going away soon1   
you know1 to ,spain4 ,on my return1 ,i  
want to do  great things1 and you must  
help me4 ,i want a house that shall not 
be  inferior to this4    ,i replied1 ,if

 you desire1 you can have one even more 
beautiful4 ,i know  the suite of rooms  
in your palace1 and the masterpieces of 
art in your  gallery4 ,with the riches  
you possess1 and the will that is not   
wanting1  you might1 as ,i have said1   
surpass even this enchanting abode4     
,a short time after this1 he came to my 
studio to say good-bye to me4  ,dear    
young man6 with a pure heart and open   
mind1 an enthusiast for the  beautiful1 
and beloved by all1 he went away1 and   
not one of us saw him  again4 ,he died  
in a foreign land1 where he had gone to 
bring away his  bride4    ,bartolini's  
statues being finished1 ,i made a       
bas-relief of ,adam and ,eve  by        
commission of ,cavaliere ,giulio        
,bianchi of ,siena2 after which ,i      
retouched in wax the pedestal of the    
,table for its casting in bronze1  and  
in the meantime prepared to model the   
statue of ,sant',antonino for  the      
,loggie of the ,uffizi4 ,from this time 
forth things began to go more  evenly   

and liberally with me1 and fears of     
falling back into poverty  disappeared  
by slow degrees4 ,already the rent of my
 studio1 which was  not small1 was no   
longer a weight to me1 as by sovereign  
decree the  studio which had been left  
by ,professor ,costoli on his promotion 
to the  presidency of the ,academy after
 ,bartolini's death was given to me4    
,the  statuettes of ,beatrice and ,dante
 of themselves alone almost supplied    
enough for the daily wants of the       
family1 as ,i always had one or two of  
them to make at a time4 ,i think ,i have
 made about forty of them1 and one  of  
them deserves comment4    ,sidenote3    
,,the ,,count ,,of ,,syracuse4          
,before the ,princess ,matilde1 who was 
married to ,demidoff1 left for ,paris   
and was separated from her husband1 the 
,grand ,duchess of ,tuscany ordered  my 
,beatrice1 with the intention of        
presenting it to that lady4 ,the        
divorce having ensued1 she did not give 
it to her1 and the little statue        

remained for some time at her           
,highness's1 and afterwards she gave it 
to  her brother1 the ,count of          
,syracuse1 who used to amuse himself by 
working  in sculpture4 ,this            
sculptor-,prince1 without the slightest 
improper  intention1 but rather from a  
sort of good-natured1 easy-going way1   
used  to keep this statuette of mine    
alongside of his own1 and it sometimes  
happened that persons praised him for   
it2 and he must have felt not a  little 
embarrassed to clear up this quid pro   
quo4    ,it appears that sometimes1     
perhaps because this annoyed him1 he    
made  matters so far from clear that the
 statuette passed off as his own work4  
,one day a ,neapolitan lady came to my  
studio1 a ,princess ,caraffa or  ,coscia
 7,i cannot say which with certainty1   
but it is a matter that can  be         
verified1 for she told me that she was a
 descendant of the family of  ,pope     
,john ,,xxiii41 who is buried in our    
,san ,giovanni1 where one sees his  fine

 monument between the two columns on the
 right-hand side74 ,this  lady1 when she
 saw the ,beatrice among my other works1
 exclaimed--    ,oh6 the graceful       
,portinari by the ,count of ,syracuse6  
,is it not true  that it is charming8   
,princess1 ,i answered1 ,i do not know  
if that little figure is pretty  or not1
 but ,i am glad that you think so1 for  
it is mine1 one of my very  first works4
 ,i modelled it in #ahdc1 inspired by   
that sublime sonnet of  ,dante which    
begins--        ',tanto gentile e tanto 
onesta pare1' c4    ,i made the first   
copy of this statuette for ,signor      
,sansone ,uzielli of  ,leghorn2 the     
second for the ,grand ,duke1 which1 with
 the young ,dante1 he  gave to the      
,princess ,isabella his daughter1 who   
married the ,prince  ,luitpoldo of      
,bavaria2 and the one that you saw was  
presented to the  ,count of ,syracuse by
 the ,grand ,duchess4    ,sidenote3     
,,sant',,antonino4    ,the noble lady   
smiled1 and said1 ,i must have been     

mistaken4    ,the ,count of ,syracuse   
was a great lover of sculpture1 and     
occupied  himself with it as much as was
 consistent with the position he        
occupied4  ,several of his works are    
most praiseworthy1 and ,i keep some of  
the  photographs of them that he was so 
kind as to send me4    ,to return to my 
,sant',antonino that ,i left unfinished4
 ,this model cost me  an immense deal of
 work4 ,the subject required character1 
bearing1 and  attitude of an absolutely 
simple and natural treatment1 such as ,i
 gave  the ,giotto2 but fearing to meet 
with censure from the lovers of the     
classic1 ,i kept doing and undoing my   
work in my sketches1 as well as in  my  
large model4 ,it is useless6 ,one must  
be decided1 and sure of the side  one   
wishes to take4 ,this see-sawing between
 ideal beauty and truth to  nature in   
portraiture will not do1 just as it     
would be absurd and bad to  adhere      
entirely to nature in other subjects1   
especially sacred ones4    ,sidenote3   

,,the ,,natural ,,and ,,ideal4    ,and  
although imitation of beautiful nature  
is the foundation and  substance of any 
work1 yet the mode of seeing it and     
reproducing it  constitutes the style   
that every artist1 who is elevated1     
great1 and  pure1 draws from within     
himself1 according to his subject and   
the  measure meted out to him by nature 
and education4 ,in portrait statues  one
 must abandon the ideal1 even as regards
 the ordinary rules of the  just        
proportions of the body4 ,sant',antonino
 was named thus because he  was small of
 stature4 ,i was tempted several times  
to make him faithfully  just as he was1 
small and crooked2 and ,i made a sketch 
of him thus1  which ,i still preserve1  
and it is precious on account of the    
little  stick on which he leans1 for    
this stick was no other than ,giuseppe  
,verdi's pen4 ,but ,i did nothing more  
with it1 as ,i was vacillating  between 
the rules of art and the close imitation
 of nature2 and it is  just this close  

imitation of the details of nature that 
constitutes the  character of a portrait
 statue--a sound canon put wisely in    
practice by  the ancients1 as can easily
 be seen from their statues of the      
philosophers in the ,vatican1 such as   
the ,zeno1 and more particularly in     
that of ,diogenes2 and in the bas-relief
 of sop1 where one sees even the        
absolute hump on his back4 ,but the     
copying in detail from nature does  not 
mean a too close imitation of every     
little thing1 of every wrinkle2  these  
are the mechanical nothings that are1 as
 it were1 the battle-horse  to those who
 make a trade of art1 and should be left
 to them4          ,,chapter ,,xi4      
,,close ,,imitation ,,from ,,life--,,my 
,,illness--,i ,,am ,,in ,,danger ,,of   
,,losing       ,,my ,,life--,,luigi     
,,del ,,punta1 ,,head ,,physician ,,at  
,,court--,,the ,,grand       ,,duke     
,,furnishes ,,me ,,with ,,the ,,means   
,,for ,,going ,,to ,,naples--,i ,,leave 
,,for ,,naples--,a ,,beggar             

,,impostor--,,another ,,and ,,my        
,,boots--,,sorrento--,,my ,,neapolitan  
,,friends--,,professor ,,tartaglia ,,and
       ,,the ,,hydropathic ,,cure--,,the
 ,,museum ,,at ,,naples--,,let ,,us     
,,study ,,the       ,,good ,,wherever   
,,it ,,is ,,to ,,be ,,found--,a         
,,strange ,,presentation4      ,that my 
words may not be obscure1 and that one  
may see with sufficient  clearness the  
difference that exists between the      
details that constitute  different types
 and the minuti that must be left out1  
,i will mention  where this sound       
principle of art is to be found4 ,for   
greater brevity  and clearness ,i will  
speak of busts4 ,the bust in bronze of  
,seneca in the  museum at ,naples1 the  
bust of ,scipio ,africanus in the       
statue-gallery at  ,florence1 the       
,vitellius1 ,julia and ,lucius ,verus1  
the ,cicero of the  ,british ,museum1   
and another ,seneca at the ,capitol1    
each has a distinct  character of its   
own4 ,so firm and decided are the       

details of those  different faces1 the  
planes are so clear and certain1 the    
life so shines  in the eyes1 the breath 
so seems to come from the lips1 that    
they have  been for centuries the study 
and stumbling-block of all artists2 for 
after that period you do not find       
anything1 unless it be some terre  cotte
 of ,luca della ,robbia1 and a bust of a
 bishop by ,mino da ,fiesole1  in which 
you do not find every hair1 and1 in     
fact1 every possible  minutia4          
,sidenote3 ,,truth ,,of ,,detail4       
,the error into which these two schools 
run--that is to say1 the ,academic  and 
,naturalistic--is this1 that the one1   
exaggerating its general rules1         
neglects detail1 and so becomes hard and
 cold2 whilst the other1  multiplying   
them ad infinitum1 falls into minuti    
which make art  vulgar4 ,these are both 
errors1 both ugly1 both false4    ,does 
this brief tirade1 half dictatorial and 
half careless1 bore you1  gentle reader8
 ,if so1 skip it1 for ,i cannot let go  

the opportunity1 from  time to time1 of 
making a good critical observation when 
it occurs to  me1 and ,i think it well  
not to omit doing so4 ,young artists    
will1 ,i am  sure1 be grateful to me2   
and besides1 though these few words may 
have  bored you1 they serve as a warning
 to them on the importance of  different
 characteristics1 and are also of use to
 me1 ,i do not say as an  excuse1 but as
 a frank statement of opinion1 for in my
 ,sant',antonino  this rule is not      
clearly carried into practice4 ,the     
importance of  speaking the truth and   
loving it is clearly given by ,dante    
when he  says3--        ,che s'io al    
vero son timido amico      ,temo di     
perder vita tra coloro1      ,che questo
 tempo chiameranno antico4#g       #g   
,and if ,i am a timid friend to truth1  
,i fear that ,i may lose my life with   
those        ,who will hereafter call   
this time the olden4                    
--,,dante3 ,paradiso1 ,canto xvii4      
,as ,i am an ardent lover of truth1 ,i  

wish to speak it now4 ,with regard to   
this statue1 if ,i had not the strength 
of mind to reproduce the saint  just as 
he was1 with all his peculiarities1 in  
other statues it has been  my study to  
do so1 and ,i believe not without       
success4    ,but in the meanwhile--,i do
 not know for what reason--a general    
feeling  of uneasiness took possession  
of me1 and a prostration of strength1   
that  prevented me from thinking or     
working4 ,added to this1 ,i had attacks 
of  giddiness1 and was obliged to spend 
entire days sitting down without  being 
able to do anything1 and feeling sad and
 melancholy4 ,my medical                
friends--,alberti and                   
,barzellotti--recommended exercise1 meat
 diet1 and a  little good wine1 which in
 those days 7#aheb7 could scarcely be   
found  genuine4 ,they ordered me to take
 preparations of iron and zinc1 but my  
health grew worse every day4 ,it was now
 three months since ,i had gone to  the 
studio4 ,i went out sometimes in the    

carriage with my poor wife1 and  we used
 to go into the country1 or on the hills
 of ,san ,domenico1  ,settignano1 or    
,pian di ,giullari4 ,sometimes ,i went  
out on foot1 but  accompanied by and    
leaning on the arm of ,enrico ,pazzi1   
,luigi ,majoli1 or  ,ciseri1 who one day
 took me by the railway to ,prato1 where
 we remained  until evening4 ,after that
 ,i began to feel a want of appetite1   
nausea1  and sleeplessness1 and then my 
friends really became alarmed about my  
health4    ,sidenote3 ,,illness4    ,the
 ,grand ,duke ,leopold1 that excellent  
sovereign1 who was called the  babbo--,i
 know not if from affection or          
derision--was for me 7and for  many     
others who do not think proper to admit 
it7 really paternal in his  care and    
timely help4 ,almost every day he wished
 to have news of my  health2 and        
constantly sent ,luigi ,venturi1 his    
secretary and a friend of  mine1 to make
 inquiries4 ,when he heard that matters 
had come to this bad  pass1 he charged  

his private medical attendant1 ,luigi   
del ,punta1 to come  and examine me1    
study my disease1 and suggest a remedy4 
,del ,punta1  before coming to see me1  
acquainted my medical advisers with the 
order  he had received1 and a           
consultation was fixed for the following
 day1  which was the #hth of ,september1
 #aheb--the ,feast of the ,virgin4 ,on  
that  morning ,alberti and ,barzellotti 
arrived first1 paid me a little visit1  
and then retired into the sitting-room  
to wait for ,del ,punta4 ,the           
sitting-room was next to my room4 ,del  
,punta came in1 and they talked for  a  
long time1 but in an undertone1 so that 
,i heard nothing1 except one  word      
pronounced by ,del ,punta1 which put me 
in a great state of  apprehension1 and  
that was tape-worm4 ,the idea that ,i   
could have that  ugly malicious beast   
inside me frightened me1 and when they  
came into my  room they found me in a   
much worse condition than when they had 
left me  a little time before4 ,i always

 remember the piercing look of ,del     
,punta1  anxious and penetrating4 ,then 
he began to question me1 and examine me 
all over1 by auscultation1 thumping1 and
 squeezing me4 ,his inspection  was a   
long one2 but as he proceeded little by 
little1 his expression  became more     
open1 his beaming frank eyes met mine1  
and ,i could almost  say that a mocking 
smile played about his lips4 ,seeing me 
still staring  at him1 he gave me a     
little tap with his hand on my shoulder1
 and said1  ,well1 be of good cheer2    
there is nothing serious the matter4    
,and  seeing that ,i did not believe    
him1 he added1 ,i tell you you haven't a
  cabbage-worth the matter with you6 and
 he said this with emphasis4            
,sidenote3 ,,consultation ,,of          
,,physicians4    ,well1 my dear reader1 
that foolish expression did me good4 ,if
 he had  assured me in the usual way1   
and with select phraseology1 that ,i had
  nothing serious the matter with me1 it
 would not have had the eloquence  or   

efficacy of that slang word blurted out 
with such force in the face  of the sick
 man1 before the other medical men1 with
 my poor wife  listening sadly and      
anxiously1 my little ones about me1 not 
understanding1 but full of vague fears  
on account of their mother's  sadness   
and the novelty of the thing4 ,it       
brought with it1 ,i say1 such a  sense  
of conviction1 that it was for me a true
 and positive  affirmation4    ,poor    
,luigi6 as learned in medicine as you   
were genial as a friend1 on  that day   
you gave new life to me when ,i seemed  
to see it fleeting from  me4 ,you so    
vivacious1 so full of health--,i so weak
 and ill2 who would  have then said that
 so soon you would be gone8             
,sidenote3 ,i ,,am ,,sent ,,to ,,naples4
    ,after having assured me and my wife
 that there was no serious disease1     
that ,i should certainly recover1 he    
added that ,i required a special  method
 of treatment that had more to do with a
 regimen of life than with  medicine1   

and that he would refer the result of   
the consultation and his  examination to
 the ,grand ,duke4 ,in fact1 he reported
 to the ,grand ,duke  7as ,i afterwards 
learned71 that in the condition in which
 ,i was1 ,i could  not have lived2 my   
nerves were so shattered that ,i had    
become very weak1  and that ,i suffered 
from vertigo and could hardly stand1 and
 at last had  lost my appetite and power
 of sleeping4 ,it was urgent that ,i    
should have  rest2 and this would       
consist in taking me away from home1    
away from my  studio1 from ,florence1   
from all--in one word1 sending me off on
 a  journey1 not a long one1 but far    
enough to distract me from cares and    
thoughts that oppressed2 this was the   
only remedy1 he said1 and could be      
freely adopted1 as ,i had no internal   
disease4 ,it was necessary that ,i      
should have a companion that ,i liked   
with me1 and he suggested that my  wife 
should accompany me4    ,a few days     
after1 the ,grand ,duke informed me by  

means of his secretary1  ,venturi1 that 
it was necessary for me to have a change
 of air1 and that  ,professor del ,punta
 had advised ,naples1 as it was a bright
 cheerful  place to stay in--where the  
air was mild1 and where there were many 
pleasant things to distract one3 that ,i
 must therefore make my  arrangements to
 go there2 that my wife and one little  
girl must  accompany me2 and that ,i was
 not to give a thought to anything1 as  
he  provided for everything during the  
time that was necessary for my          
recovery1 and he recommended me to his  
minister ,cavaliere ,luigi  ,bargagli4  
,sidenote3 ,,arrangements ,,for         
,,departure4    ,every day that preceded
 my departure1 ,professor del ,punta    
came to see  me1 and encouraged me to be
 of good cheer also1 on the part of the 
,grand  ,duke4 ,the preparations for our
 departure were many1 and by no means   
trifling4 ,it was necessary to make     
arrangements so that the work in the    
studio should not be without direction1 

and should be carried on  carefully4    
,tito ,sarrocchi1 then my scholar and   
workman1 was intrusted  with the        
direction of it4 ,the works in hand1    
besides the statue of  ,sant',antonino1 
were1 ,innocence and the ,fisherman1 for
 ,lord ,crawford of  ,london1 and some  
busts4 ,as to models in clay1 ,i left a 
,bacco dell'uva  ,malata1 that          
,sarrocchi had charge of until my       
return4 ,my friends1  artists and not   
artists1 came during those days to say  
good-bye to me1  some of them consoling 
themselves with hopes of my recovery1   
and others  fearing that they should    
never see me again1 so emaciated and sad
 was ,i2  and ,antonio ,ciseri wept in  
saying good-bye4    ,good gracious6 how 
long and tedious is this narrative of   
your illness6    ,long6 yes or no4 ,long
 for you perhaps1 who1 as it would seem1
 have never  been ill1 and who do not   
know what a consolation it is for one   
who is  suffering from the same malady  
as yourself to hear about such illness  

from one who is at present quite well4  
,if it annoys you1 have  patience--some 
one may benefit by it2 and at any rate1 
for the present ,i  have done4    ,the  
night that preceded my departure1 that  
dear saintly woman my wife  remained up 
all night to put everything in the house
 in order1 and to  prepare what was     
needed for us--that is1 myself1 my wife1
 and ,beppina1  our second daughter4 ,i 
had at that time four daughters3        
,amalia1 who is  the eldest2 ,beppina1  
who went with me2 and ,luisina and      
,emilia1 who  remained at home with     
their grandmother and ,amalia4 ,i lost  
,emilia quite  young1 dear little angel4
 ,her little body rests in the cemetery 
of ,san  ,leonardo4 ,gigina ,i lost when
 she was grown up1 and will speak of    
this in  its place4    ,the journey had 
to be made by short stages in a vettura1
 so that it  was necessary to hire a    
carriage and keep it at one's own       
expense as far  as ,naples4 ,we left on 
the morning of the #bjth of ,october    

#aheb1 arrived  on the #bhth1 and lodged
 at the ,hotel de ,rome1 ,santa ,lucia4 
,that eight  days' journey in the sweet 
company of my wife1 the pretty1 innocent
  questionings of ,beppina about the    
fields1 the rivers1 and the villages    
that we passed by one after the other1  
the novelty of the life1 the pure       
country air1 and the hope of regaining  
my health1 had softened the  asperity of
 my suffering4 ,apathy and sadness      
gradually gave way to a  desire to see  
new things2 my wife's questions and     
those of my little one  obliged me to   
answer1 and sometimes to smile4 ,i felt 
my appetite for  food return1 and ,i    
slept peacefully some hours every night4
    ,sidenote3 ,,impressions ,,of       
,,naples4    ,in this way ,i arrived in 
,naples--in that immense city1 so       
crowded with  people1 so noisy and      
deafening on account of the numbers of  
carriages1  shouts of the coachmen1 of  
the people offering things for sale1 of 
jugglers1 beggars1 all speaking in a    

strange difficult dialect most          
unpleasant to a ,tuscan4 ,in this city  
the first impression made upon me  was a
 mixture of wonder and anger4 ,it seemed
 to me as if one could do  all that     
those good people were doing without    
being obliged to scream  and throw one's
 self about so much4 ,here a coachman   
smacked his whip  within four fingers of
 your ears1 to ask you if you wanted his
  carriage2 there a man1 selling iced   
water and lemonade1 screamed out at  the
 height of his voice ,i don't know what1
 and1 to give it more force1  beat with 
his lemon-squeezers against his metallic
 bench1 like ,norma or  ,villeda on     
,irminsul's shield2 a little farther on 
a half-naked beggar1  with his ragged   
wife and children1 shouted out1 ,i am   
dying with  hunger1 with lungs that a   
commander of a battalion in the         
battle-field  might envy4 ,these        
beggars1 however1 are for the most part 
impostors4 ,one  day--it was a festa--,i
 was returning from ,san ,gennaro1 where

 ,i had  been to ,mass with my wife and 
little girl4 ,i saw a man extended on   
the  ground with his body and legs      
inside a doorway1 his head and his arms 
out into the street2 his mouth was green
 with grass that he had been  chewing1  
and some of which was hanging out of his
 mouth4 ,the people  passing by looked1 
and then went on their way talking and  
laughing as if  it was nothing4 ,i was  
stunned1 indignant1 and full of pity1   
and turning  to my wife 7and even ,i    
flinging about my arms in the           
,neapolitan  fashion71 said1 with all   
the ,christian and human resentment that
 ,i was  capable of1 ,how is it possible
 that1 in such a flourishing and civil  
city as this1 a poor ,christian is left 
to die of hunger in the street  for want
 of a little bread which is denied him  
by his unnatural  brethren1 and is      
obliged to feed upon the food for       
beasts8 ,and ,i ran at  once to a       
pastrycook's near by for some cakes1    
because ,i thought bread  would be too  

hard food for a man reduced to such a   
state2 and with a  light heart on       
account of the good action1 ,i took them
 to him that ,i  might see him eat them1
 and as soon as he was a little restored
 give him  some soldi4 ,clever indeed6  
,you little thought that the man was an 
impostor6 ,i bent over him1 called him2 
he did not answer4 ,i put a cake  to his
 mouth1 and he looked at me1 took the   
cakes1 and hid them in his  bosom       
between his shirt and his skin1 and this
 kind of a bag was crammed  full of     
bread and other things4 ,some           
inquisitive people had stopped to  look 
on1 and seeing this1 it seemed to me as 
if they laughed at my  simplicity4      
,sidenote3 ,i ,,give ,,my ,,boots ,,to  
,a ,,beggar4    ,and as ,i am on this   
question1 and my memory serves me well1 
,i will tell  you of another beggar4 ,in
 front of the ,hotel de ,france1 ,largo 
,castello1  where ,i was staying1 is the
 ,church of ,san ,giacomo4 ,at the door 
of this  church a poor man stood from   

morning until night trembling1 half     
naked1  and barefoot4 ,it made me feel  
badly1 comfortably lodged as ,i was1 and
  sitting smoking my cigar on the       
terrace1 to see that poor creature out  
in the cold with his feet in the mud4   
,more than once my poor wife had  given 
him some soldi2 but one day when it was 
raining heavily1 and the  poor man was  
out in it all1 with his feet nearly     
covered by water1 a  happy thought      
struck me1 inspired by ,christian       
charity1 and ,i said1 ,i  am here under 
cover1 and have boots on my feet1 while 
that poor wretch  is there outside with 
no shoes on2 ,i will give him my boots4 
,i rang the  bell2 the servant came1 and
 ,i said to him1 ,raffael1 take this    
pair of  boots to that poor man over    
there by the door of ,san ,giacomo4     
,yes1 sir1 said ,raffael1 and away he   
went4    ,i went back on to the balcony 
to enjoy the effect of my good deed1    
imagining that ,i should see an         
expression of amazement and joy on the  

man's face4 ,nothing of the sort2 he    
remained there with the boots in  hand  
as if he did not know exactly what sort 
of things they were1 and  when ,raffael 
told him that ,i gave them to him1 and  
pointed me out to him  on the terrace1  
the man turned1 looked up1 and1 always  
holding them in  his hand1 made signs of
 thanking me2 then he put them down on  
the  ground near his feet1 and continued
 to stretch out his hands to the  people
 entering the church6 ,ah1 poor man1 ,i 
said1 he wished to put  them on         
to-morrow morning2 he must wash himself1
 of course1 and dry his  feet before    
putting them on4 ,how stupid of me6 ,the
 people are just going  in for the      
novena 7it was ,christmas-time71 and he 
does not want to  lose a chance grano to
 buy him some bread4 ,but the next      
morning he  was still barefooted1 and it
 was raining4 ,i said to my wife--      
,sidenote3 ,,the ,,beggar ,,sells ,,the 
,,boots4    ,look1 ,i sent that poor man
 my boots yesterday1 so that he should  

not  wet his feet1 but he has not put   
them on4 ,what do you think is the      
reason8 ,what should you say8    ,he    
probably wishes to keep them for        
,sundays1 was the serious answer of     
that dear simple woman4    ,you are     
joking1 my dear2 that man is old1 and if
 he keeps them for  ,sundays he will not
 see the end of them4 ,i say that he has
 sold them4    ,and ,i say1 that if he  
had two or three lire to spare1 he would
 have  wished to buy a pair1 poor man6  
,we each remained of our own opinion4   
,late in the day we went out1 and1      
approaching the poor man1 ,i said to    
him--    ,why have you not put on the   
boots that ,i gave you8 ,are they tight8
    ,your ,excellency1 he replied1 if ,i
 put the boots on1 no one will give  me 
another penny4 ,i have sold them1 your  
,excellency2 and may the ,virgin  bless 
you4    ,a few days after my arrival at 
,naples ,i went to ,sorrento4 ,the      
discordant  noise of the town annoyed   
me1 and ,i wished to try that little    

place1 so  much praised for its climate 
and for its quietness1 and so full of   
association with that illustrious and   
unhappy man1 ,torquato ,tasso4 ,i  went 
there with my friend ,venturi1 who had  
come to ,naples for a few days  with the
 ,grand ,duke4    ,sidenote3 ,,sorrento 
,,and ,,its ,,inhabitants4    ,sorrento 
is a charming little town seated on the 
crest of a hill called  the ,deserto4   
,it is surrounded on the left by woods  
of orange1 citron1  and lemon trees1 and
 on the right by the sea with the island
 of ,capri1  that seems to rise up      
majestically from the deep blue waters4 
,on the far  horizon one catches a      
glimpse of ,nisida and ,baia4 ,this     
small town is  inhabited by fishermen1  
orange-packers employed on the large    
landed  possessions in the              
neighbourhood1 and by most clever       
workers of inlaid  wood1 who have made  
their art so much in request by the     
thousand little  trifles1 so pretty in  
design and so carefully executed1 that  

they make4  ,garguillo's manufactory is 
much renowned1 and justly so4 ,not only 
do you  find on the pieces of furniture 
cornices1 fillets1 meanders1 and other  
graceful ornaments1 but also extremely  
pretty figures inlaid on the  boxes1    
little tables1 and other nick-nacks with
 which well-to-do people  embellish     
their rooms4 ,here the air is mild1 and 
the sun is tempered by  the shade of    
laurels and orange-trees4 ,the character
 of the inhabitants  is gentle and      
laborious1 and through their acts and   
their words there  breathes a quiet1    
ineffable melancholy1 like the memory of
 a sweet pure  dream4 ,their complexion 
is dark1 and also their hair2 their eyes
 have  long lashes1 and are cut in      
almond shape4 ,it seems as if they      
looked  with infinite sweetness at      
something immeasurably far off2 their   
smile  is sad1 as if it recalled to them
 a lost existence that hope induced     
them to think not irretrievably lost4   
,this favoured1 ,i should almost say    

ideal1 bit of nature1 at a few miles'   
distance from the thoughtless  vulgar   
noise of the inhabitants of ,naples1 is 
a thing commented on by  all1 but by no 
one reasonably explained4 ,the climate  
so temperate1 the  air perfumed with the
 scent of orange-flowers1 and the sweet 
melancholy  on those faces1 instead of  
rendering the place agreeable to me1    
made me  profoundly sad4 ,why did my    
heart not open itself to the enjoyments 
of  that pure1 serene1 and most         
beautiful nature8 ,why was it that that 
bright sky1 that tranquil sea1 that     
quiet industrious life1 rendered me     
more sad and thoughtful8 ,perhaps it was
 because being so very weak ,i did  not 
feel the strength within me to reproduce
 in art any of those many  impressions  
that the mind took in and fancy clothed 
in most varied  forms4 ,one day ,i      
visited ,tasso's house2 and whilst1 as  
usual1 the  cicerone explained in his   
way the singularity of that abode1 ,i   
dwelt in  imagination on the life and   

vicissitudes of that unhappy poet1 and  
recalled the secret joys of that        
passionate soul after he had finished   
his ,christian epic3 ,i saw the         
courteous1 handsome cavalier1 the       
inspired  poet1 envied and conspired    
against by the favourites of the ,duke  
and the  literati1 his rivals2 the looks
 of the ladies1 whose frank admiration  
was veiled in the shadow of profligacy2 
then the disorder1 confusion1  first in 
the heart1 and then in the brain of poor
 ,torquato1 the  suspicions of the      
,duke1 his imprisonment1 his lawsuit1   
his resignation  and death2 and ,i wept4
    ,sidenote3 ,,sorrento--,,return ,,to
 ,,naples4    ,i decided to return to   
,naples--for this quiet full of fancies 
drove me  back into myself1 and made me 
more sad4 ,i took up my abode in the    
centre  of the great city1 in ,piazza   
,castello1 at the ,hotel de ,france1 on 
the  angle of the ,strada dei ,guantai  
,vecchi4 ,in this hotel strangers were  
continually coming and going1 and       

changing every day4 ,the windows of my  
little apartment opened on the ,piazza1 
and the mid-day and westerly sun  bathed
 them in heat and light4 ,some artists1 
in compassion for my  condition1 came to
 give me courage2 and among them ,i     
remember with  profound sadness1 for    
almost all of them are now dead1        
,cammillo ,guerra1  ,giuseppe           
,mancinelli1 ,gigante1 and ,tommaso     
,aloysio ,juvara1 who had such a  tragic
 end in ,rome4 ,the warmth of your heart
 turned your brain1 my poor  friend6 but
 in your last moments you acknowledged  
your sin1 and ,god will  have been      
merciful to you4 ,the other younger     
artists who are still alive  are the    
sculptors ,solari and ,balzico1 the     
miniature-painter ,di  ,crescenzio1 and 
,postiglione the painter4 ,but my health
 was always the  same4 ,professor       
,vulpes1 to whom ,i had brought a letter
 of recommendation  from ,professor del 
,punta1 continued to follow the same    
treatment as that  indicated by the     

other ,florentine doctors1--that is to  
say1 prescribing  preparations of iron1 
meat diet1 rest1 and tranquillity of    
mind4 ,and in  the meanwhile ,i had no  
desire to eat2 my sleep was restless and
 of short  duration2 my legs would ill  
support me1 and my mind was so depressed
  that ,i could not endure to read more 
than a few pages4 ,as to writing1 ,i    
was obliged to stop every moment or so2 
ideas got confused1 and ,i could  not   
separate them from each other or give   
them any proper shape4 ,it was  a great 
fatigue to me to give my news to        
,venturi when he desired to hear  from  
me4    ,sidenote3 ,,my ,,ill ,,health   
,,continues4    ,at last the longed-for 
day came which was to decide the        
question of my  health4 ,it was already 
two months since ,i had left my home2   
and although  the journey to ,naples and
 the air there had been somewhat        
beneficial to  me1 yet ,i was very far  
from entertaining the slightest hope of 
recovery--or rather this recovery was so

 slow as to make me lose all  patience4 
,at this stage good ,professor          
,smargiassi1 seeing me always so  weak  
and melancholy1 said to me1 ,why do you 
not try the water-cure8    ,sidenote3 ,i
 ,,try ,,the ,,water-,,cure4    ,what do
 you mean by water-cure8 ,i replied2 and
 he explained it to me1  adding1 ,here  
in ,naples there is ,professor          
,tartaglia1 who has effected  some      
wonderful cures4 ,he told me of some1   
and he added that he himself  had tried 
this cure and had got well4 ,as         
,smargiassi was a serious man1  with a  
temperate habit of speech on all        
matters1 his words carried  weight with 
them1 and ,i consented willingly to     
consult this hydropathic  professor1 and
 so sent for him4    ,professor         
,tartaglia was an exceptional           
,neapolitan--that is to say1 he  had    
nothing of the vivacity of speech and   
manners that is peculiar to  this       
warm-hearted1 exuberant1 and imaginative
 people2 he spoke little  and quietly1  

listened a great deal1 and observed     
attentively4 ,when he  had heard of my  
complaints1 he examined me1 and after   
that said3 ,you  have no disease1       
although you may not feel well2 you will
 recover  quietly and easily--of that   
you may be sure4 ,in the meanwhile ,i   
will  tell you that ,i shall not come   
again to see you2 but instead1 you must 
come to see me every morning at twelve  
o'clock to give me an account of  how   
you feel4 ,to-morrow you must take your 
first bath4 ,don't be  alarmed--it is   
not a bath by immersion2 you are not to 
go into the  water1 and he gave me the  
directions to be followed2 and as he was
  going away he said1 ,let alone the    
medicines that you have taken thus  far4
    ,the first morning this hydropathic 
cure seemed very arduous4 ,to get out   
of one's bed and put on a sheet drenched
 with cold water is not the  pleasantest
 thing in the world1 especially at that 
season of the year  7it was the last of 
,december72 but after the first         

impression1 ,i can  assure you that the 
external warmth finally produces a      
pleasant effect1  and gives strength and
 elasticity to the body4 ,after the     
bath1 walking  exercise should be taken 
for at least an hour4 ,to my objection  
that ,i  could not walk1 the ,professor 
answered1 ,walk as much as you can1 rest
 a  little1 and then continue to walk1  
and so on2 you will see day by day  that
 your strength will return1 and with    
your strength1 courage and  happiness4  
,in short1 after a month of this        
treatment ,i was so well that  ,i could 
walk easily eight miles during the day4 
,when ,i wrote to ,florence  of the new 
cure that ,i had begun1 ,del ,punta was 
frightened1 and said  that he would not 
be responsible for the result of this   
resolution of  mine1 which1 to say the  
least1 was hazardous2 and that ,i ought 
not to  have undertaken it without the  
advice of an ordinary practitioner--that
  is to say1 of an allopathic doctor4   
,his making this a condition            

tranquillised me1 as ,professor         
,tartaglia was really an allopathic     
doctor2 but in some cases that were     
rebellious to that system of  treatment 
he adopted hydropathy4 ,then1 too1 the  
result was so  satisfactory1 so decided1
 that all objections fell to the ground1
 and  nothing more was said about it4   
,sidenote3 ,,my ,,health ,,is ,,renewed4
    ,by degrees ,i felt my strength     
returning1 and my heart expanded with   
hope4 ,delightful artistic thoughts1    
that had so long lain dormant1  sprang  
into life within me1 one by one1 like   
the first leaves in ,april2  and ,will1 
precious gift1 mysterious1 immortal     
power1 again took and held  its empire  
over me1 and pronounced itself4 ,during 
the days just passed1  the smiling      
country1 the glorious sun1 the terrible 
beauty of the sea1  the joys of men1 the
 creations of art1 and 7sad to say7 even
 the  affectionate care of my dear ones1
 were irksome to me2 and now1 with      
pleasure1 slowly and by degrees ,i began

 to feel a desire and thirst to  enjoy  
these good things1 thinking about them  
and loving them with more  intensity of 
understanding and hearty sincerity4     
,every day there was a  new excursion to
 be made3 ,capodimonte1 with its immense
 park and rich  gallery2 that beautiful 
walk1 the ,strada ,maria ,teresa1 now   
,vittorio  ,emanuele2 the ,certosa of   
,san ,martino1 where one enjoys a view  
of the  whole city1 of the sea and all  
the ,campagna-,felice1 of ,vesuvius1 of 
,monte ,somma1 of ,portici1 ,resina1    
,capri1 and ,nisida4 ,then ,i felt a    
desire  to see the ,royal ,museum1      
unique in the world for its great riches
 in  ancient bronzes2 the ,flora1 ,venus
 ,victrix1 ,callipige1 ,aristides1 the  
equestrian statues of the ,balbi1 father
 and son2 the seated ,mercury2 the      
,sleeping ,faun1 and a thousand other   
statues1 big and little2 busts1 in      
marble and in bronze1 of exquisite      
beauty1 all or almost all of them       
having been dug out of the ashes of     

,herculaneum and ,pompeii4 ,on certain  
days1 or ,i should rather say at certain
 moments1 a sight of these works  of    
sculpture sets one on fire1 and fills   
one with courage and a strong  desire to
 do something2 but at other times it    
gives one a feeling of  dismay1         
discouragement1 and fear that cannot be 
described4 ,this  difference of         
impression deserves to be examined a    
little1 and he who is  bored must here  
skip2 the young artist1 however1 ,i am  
certain1 will  follow me attentively4 ,i
 have made a promise to myself not to   
leave  these papers as food for mere    
curiosity1 for1 seriously speaking1     
there  should be no satisfaction in     
that2 whereas a little value and profit 
will be found by every one who has the  
patience to follow me4    ,sidenote3    
,,excursions--,,the ,,royal ,,museum4   
,sidenote3 ,,the ,,academicians ,,and   
,,naturalists4    ,yes1 dear friends1   
sometimes1 in seeing certain works of   
art1 one burns  with enthusiasm1 with a 

fire1 a desire to do1 that is really    
marvellous1  and we ease our minds with 
the conviction that this is a sign of   
our  strength4 ,illusions1 dear         
sirs--illusions6 ,to the eyes of the    
artist all  works of art ought to be the
 occasion of examination and serious    
hesitating thought2 and when these      
outbursts of immoderate confidence in   
ourselves occur1 they are a sign that   
our sight is obscured by pride1 or  that
 we are not able to comprehend the      
degree of beauty in such works1  and    
consequently the difficulties that have 
been overcome to produce  them4 ,we must
 correct ourselves of both these        
defects1 and learn to  respect even     
mediocre things1 as by this method we   
arrive at the  discovery of something   
good even in these1 if not as a whole1  
at least  in their intention and germ1  
and this will always be something       
gained4  ,as a young man1 ,i have found 
myself laughing compassionately at some 
of  the most beautiful works of art1    

both ancient and modern1 and this       
merely because my natural pride had been
 excited by light or false  praise4 ,the
 complacency that we feel in ourselves  
and our works comes in  part from a     
species of exclusiveness and belief in  
the infallibility of  the principles we 
profess4 ,not that ,i would counsel any 
disloyalty to  the principles that are  
our guides in art--no1 indeed1 for we   
must keep  entirely true to them2 but it
 is a very different thing to despise   
all  other schools that are removed from
 ours4 ,for instance1 why despise the   
,academicians1 who are tenacious of the 
study of antique statues1 in  order to  
keep within bounds the turbid torrent of
 the veristi1 who in  their turn1       
through their coarse adherence to       
nature1 lose the idea of  the beautiful8
 ,let us1 on the contrary1 respect them 
for their  intentions and motives1 at   
the same time that we make certain      
reservations as to the final            
consequences that would result from this

  distrust and refashioning of nature4  
,the fault of the ,academic school  lies
 in this1 that instead of saying1 ,study
 the antique2 look how well  they knew  
how to choose from life and how to      
interpret it1 they say1  ,here1 copy    
these casts2 apart from them there is no
 health or safety  for you4 ,nature is  
imperfect2 you must improve on it1 and1 
imitating the  ,grecian and ,roman      
statues1 you will learn to purge nature 
from all her  imperfections4 ,so saying1
 the intention1 which is good1 is       
spoiled by  its application of          
exaggerated rules4 ,but1 ,i repeat1 the 
intention is  good2 therefore let us    
look to that whilst we reject its       
application4 ,on  the other hand1 why   
should we despise the naturalisti in all
 that they  have that is good--,i mean1 
in their axioms and rules--which1 in    
short1  putting aside amplification and 
exaggeration1 means the imitation always
  in everything of nature8 ,we have     
always accepted and insisted upon the   

imitation of nature1 that is of         
beautiful nature1 putting aside that    
exaggeration which leads to folly1      
absurdity1 and licence of conception1   
and to ugliness of form1 detail1 and    
minuti4    ,sidenote3 ,,the             
,,naturalists ,,and ,,idealists4    ,the
 same may be said of the mystics1 the   
purists1 colourists1 lovers of  effect  
and barocco1 c4 ,let us take the good   
where we can find it3  not1 indeed1 make
 a mixture1 a medley1 as some have been 
fantastic  enough to imagine1 by which  
we should arrive directly at            
eclecticism1  which is the most foolish 
thing in this world2 but putting our    
minds  into the study of all these      
schools1 we shall be able to find good  
reasons for their teachings4 ,separating
 them from excess and  exaggeration1 we 
shall find ourselves in a wider1        
clearer1 higher  atmosphere1 and the    
impressions that we receive from works  
of art will  not produce despondency or 
rejoicing1 our judgments will be more   

temperate and just1 and our own work    
will be done quicker and better4  ,this 
does not mean1 indeed1 that we are to   
remain indifferent before  works of art4
 ,alas for the man who is indifferent6  
for the artist who  before some work of 
art stands cold and without feeling6 ,a 
young man who  is ardent1 boasting1 and 
proud1 can correct himself1 can be      
trained by  difficulties and instances1 
by emulation or jeering4 ,the timid will
  become animated1 and take courage1    
moving with measured and cautious  steps
 on his arduous journey1 and1 by reason 
of his timid1 gentle  character1        
conciliate the goodwill of his masters  
and fellow-students2  but the           
indifferent and cold of nature has too  
much the air of a  simpleton or an      
arrogant person1 and he is fled from and
 left in his  stupid ignorance4         
,sidenote3 ,,an ,,artistic ,,visit4     
,and here1 gentle reader1 is one of     
these happy mortals who live their      
little day in dreamland4 ,a person came 

to see me one day bringing with  him a  
young man who might have borne a quarter
 of a century weight on  his shoulders4 
,he was of medium height1 with broad    
shoulders1 bent  slightly1 owing1       
perhaps1 to his being twenty-five years 
of age2 he had  a black beard1 bronzed  
complexion1 and wandering eyes4 ,he     
looked all  about him and saw nothing4  
,i say that he saw nothing1 for he paid 
the  same attention to my cat as he did 
to the head of the ,colossus of ,monte  
,cavallo1 which stood on a stand in the 
room1 and to my ,abel as he did  to me  
or my stool4 ,he spoke no ,italian1 not 
even ,french2 but the person  who       
accompanied him1 and who was competent  
in all respects1 spoke for  him1 or     
rather of him1 for the young man himself
 never opened his mouth  to utter a     
word1 although he kept it half open even
 when he was looking  at the cat4 ,this 
very polite person said--    ,you will  
forgive me1 ,signor ,professor1 if ,i   
take you away from your  occupations for

 a few brief moments2 but ,i could not  
forego the pleasure  of regaling you    
with a visit from1 and making you       
acquainted with1 this  young sculptor1  
who is on his way to ,rome1 where he    
goes1 not1 indeed1  to perfect himself  
as an artist1 but to practise the       
profession which he  has so nobly and   
splendidly illustrated by his genius4   
,as he is  undoubtedly born to fame1 and
 the whole world will talk of him1 ,i   
wished  to bring him to you1 and make   
you really acquainted1 that you might   
some  day be able to say1 ',i have seen 
him and spoken with him4'    ,sidenote3 
,a ,,genius4    ,i stood there like a   
bit of stucco1 looking at the young man1
 and then  at the person who had spoken 
to me thus4 ,then ,i answered--    ,tell
 me1 does this gentleman speak1 or at   
least understand1 ,italian8  ,has he    
understood what you have just said of   
him8    ,oh no6 he only speaks ,english2
 he is an ,american4    ,the ,lord be   
thanked1 muttered ,i to myself1 that the

 poor young man  understood nothing6    
,but this polite person1                
misunderstanding my  question1 began--  
,now ,i will tell him what ,i have said 
to you4    ,and he began in ,english to 
repeat the little tirade that he had    
given  me1 and this genius of a young   
man nodded his head at every phrase1    
looking at me1 at the stool1 and at the 
cat6          ,,chapter ,,xii4          
,,pompeii--,a ,,cameo--,,sketch ,,for   
,,the ,,bacco ,,della                   
,,crittogama--,,professor ,,angelini    
,,the ,,sculptor--,,one ,,must ,,not    
,,offer       ,,one',s ,,hand ,,with    
,,too ,,much ,,freedom ,,to ,,ladies--,a
 ,,hard-,,hearted       ,,woman ,,with  
,,small ,,intelligence--,,the ,,san     
,,carlo1 ,,the ,,san ,,carlino1         
,,the ,,fenice1 ,,and ,,the             
,,sebeto--,,monument ,,by ,,donatello   
,,at       ,,naples--,,the ,,barocco    
,,and ,,mistaken                        
,,opinions--,,dilettanti ,,in ,,the     
,,fine ,,arts--,,prince ,,don           

,,sebastian ,,of ,,bourbon--,,is ,,the  
,,beard ,a ,,sign       ,,of ,,being    
,,legitimist ,,or ,,liberal8--,i ,,am   
,,taken ,,for ,a ,,prince ,,or          
,,something ,,like ,,one--,,the ,,bottle
 ,,for ,,doorkeepers ,,and ,,custodi    
,,of       ,,the ,,public ,,museums ,,of
 ,,naples--,,phidias1 ,,demosthenes1    
,,and ,,cicero       ,,all ,,against    
,,ruggero ,,bonghi4      ,i summoned up 
all my little stock of patience1 and    
moved slowly towards  the door1 they    
following me4 ,thanking the gentlemen1  
,i shut them out1  and returned in      
silence to my work4 ,this happened some 
thirty years ago1  nor as yet does it   
seem as if the prophecy about that young
 man were  realised4    ,to return to   
ourselves4 ,appetite comes with eating1 
as the proverb has  it2 and in fact1 by 
degrees1 as ,i visited the museums1 the 
churches1 and  the studios of the       
,neapolitan artists1 ,i felt an         
increasing desire to do  something1 to  
try again to draw or to model1 were it  

but a mere trifle4  ,one day1 after     
having gone over the whole breadth and  
length of the  excavations at ,pompeii1 
,i was examining a mosaic pavement made 
out of a  great many pretty little      
coloured stones1 some of them broken    
away from  their place2 and bending down
 to examine it closer1 ,i touched one of
 the  stones4 ,the custode hastened to  
say to me1 ,don't touch1 signor--the    
regulations prohibit it4 ,it cannot be  
denied that ,i have always been         
disposed to respect all regulations2 but
 since ,i had seen them broken1  even by
 those who ought to have been the first 
to respect them1 ,i had  taken them in  
dudgeon4 ,i looked at the custode1 and  
he at me1 and we  understood each other 
at once4 ,i took a turn1 went to the    
door1 looked  to the right and to the   
left of me1 and coming back1 as ,i was  
taking  something out of my pocket ,i   
dropped some money on the ground4       
,sidenote3 ,a ,,little ,,cameo-,,head4  
,my friend picked it up for me1 and ,i  

gave him a carlino4 ,we returned  to the
 room where the mosaic pavement was4 ,it
 represented a race of  animals1 hares  
and dogs1 on a yellow ground4 ,some of  
the little stones  were loose1 and      
already many were missing2 they were    
small squares about  as large as my     
little-finger nail4 ,i bent down again1 
and stretched out  my hand1 looking at  
the guard1 who for decency's sake turned
 in the  other direction2 and ,i took   
the little stone1 on which1 with a great
  deal of patience and increasing gusto1
 ,i drew and engraved a small head      
after the fashion of a cameo1 roughing  
it out at first with the point of  a    
penknife1 and finishing it off with     
sharpened needles fastened into  little 
handles1 which ,i used in the place of  
small chisels and burins4 ,i  always    
keep this little head1 which was set in 
gold as a pin1 and  sometimes wear it in
 my necktie4 ,when ,i look at this small
 piece of  workmanship1 ,i am astonished
 at my patience and my eyesight at that 

time4    ,to tell the truth1 when ,i    
picked up that little stone ,i had no   
idea of  working on it1 but merely took 
it as a remembrance of the day and the  
place4 ,in touching it1 ,i thought that 
it had been shaped and put there  by a  
man like myself1 two thousand years ago4
 ,in holding that little  square stone  
between my fingers1 it seemed to me as  
if my hand touched  the hand of that    
man1 who then was full of life4 ,i      
thought of his scant  dust1 now         
dispersed1 transformed but not lost6    
,where is this dust now8  ,i1 where was 
,i then8 ,while ,i was thinking on this1
 my good ,marina  approached1 and said--
    ,do you find any beauty in that     
little stone8    ,sidenote3 ,,vesuvius  
,,and ,,its ,,lava4    ,no4 ,i was      
thinking that it is very old4 ,i was    
thinking that it is a  fusion of fire1  
and in substance lava4 ,but was not     
,vesuvius unknown at  the time that this
 city was constructed8 ,could you       
imagine that they  would have been so   

insane as to have built on the outskirts
 of a  mountain vomiting fire8 ,have you
 not observed that in all the many      
paintings on these houses1 where you    
find over and over again  landscapes1   
sea views1 animals1 figures1 in fact    
everything1 that there  is never the    
slightest trace of a view of ,vesuvius8 
,if it had been  there1 surely they     
would not have failed to reproduce in   
painting such a  marvellous phenomenon4 
,therefore it could not have been there2
 and yet  all these mosaics are made of 
lava1 and all the surrounding country at
 a  certain distance below the surface  
of the ground is covered with it4 ,it   
was not there1 ,i say1 in their memory2 
but when was it there8    ,do you know8 
said my wife4    ,i8--no1 indeed4       
,then you can imagine if ,i do4         
,after this small cameo1 ,i wished to   
model a little figure in bas-relief1    
which it was my intention to have       
executed on a shell cameo1 and ,i gave  
the order for it2 but the workmen       

employed for this kind of work are so   
unintelligent that if you take them away
 from the work they are  accustomed to  
do almost mechanically1 they are not    
able to succeed in  doing anything4 ,the
 little figure represented ,medicine4   
,she was seated  on a stool1 and with a 
little stick was pushing aside the      
bushes to look  for some medicinal      
plants2 but in doing so a serpent had   
wound itself  around her stick1 as it is
 said to have happened to sculapius4    
,behind  the stone on which she is      
seated flows a little stream of water1  
to  denote the salutary action of water 
by which ,i was cured1 and to which  she
 turns her back4    ,sidenote3 ,,new    
,,sketch ,,of ,,the ,,bacchus4    ,i    
also made a new sketch for the ,bacchino
 della ,crittogama1 which was  the one  
that ,i afterwards made of life-size on 
my return from ,naples4  ,the one ,i had
 left behind me in clay was very        
different1 and ,i destroyed  it4 ,i had 
this new sketch baked1 and ,i remember  

one day when ,i went to  get it from the
 man who sells terre cotte1 near ,santa 
,lucia1 to whom ,i  had given it to     
bake1 that ,i found him arguing with a  
stranger who had  taken it absolutely   
into his head to buy it4 ,it was useless
 for the man  to say that the statuette 
did not belong to him2 that he could not
 sell  it2 that it was not finished2 and
 that his little figures of ,apollo1 the
  ,idolino1 ,venus1 and ,flora were far 
better and more finished than this      
sketch3 he only kept repeating1 ,i like 
this1 and want to buy it2 and  all      
persuasion was useless4 ,i put an end to
 the discussion in two words1  saying to
 the man--    ,sell it to him4    ,how  
much must ,i ask8    ,a thousand lire4  
,at which the good touriste immediately 
put down the ,bacchino1 and went  away  
in peace4 ,some two months after this ,i
 presented this little sketch  to a     
priest from ,verona1 whose name ,i do   
not remember1 but who came to  preach   
the ,lenten sermons at our cathedral in 

,florence4 ,i regret to  have given it  
to him1 for it is always well that a    
man's sketches should  remain in his    
family1 and also because1 for all his   
eloquence1 he has  never since reported 
himself to me4 ,can he really be dead8  
,requiem  ternam4    ,sidenote3 ,,visit 
,,to ,,cavaliere ,,angelini4    ,in this
 manner the time passed by1 alternating 
the long walks in the  neighbourhood of 
,naples with a little work and some     
artistic visits to  ,mancinelli1 to     
,balzico 7then but a young student71 to 
,smargiassi the  landscape-painter1 and 
to ,gigante1 the famous water-colourist4
 ,i did not  fail to try to find the    
sculptor ,cavaliere ,angelini1 whom ,i  
had already  known in ,florence2 but for
 some inexplicable reason ,i could not  
see him1  and this was what happened4 ,i
 went to his studio1 and his men told me
  that he had gone to the ,academy to   
lecture to the young men4 ,i went to    
the ,academy1 and was told that he      
desired me to wait1 because he was      

giving his lessons4 ,i waited a good    
long time1 and when he came out he  said
 that he was in such a hurry he could   
not pay any attention to me  then1 but  
that ,i must come to his studio on a    
certain day at a certain  hour4 ,i went 
there and knocked2 no one answered1 and 
the soldier who was  mounting guard at  
the ,serraglio dei ,poveri close by said
 that every one  had gone away more than
 two hours before4 ,it seemed to me a   
little  strange1 after having named the 
day and hour2 but more or less          
forgetfulness in an artist means        
nothing--in fact it is a sort of sauce  
or dressing to an artist's character1 be
 he young or full-grown1 on  horseback  
or on foot4 ,dear me6 such things are   
easily understood2 and if  ,i had not   
been a little tired1 ,i should not even 
have thought of it1 and  would have     
returned another day4 ,but when1 and at 
what time8 ,should ,i  have ever found  
the door open8    ,my hotel was very far
 from the poorhouse1 but the two places 

were not  very dissimilar2 for although 
all my expenses were paid by the ,grand 
,duke1 it had not yet become the fashion
 to squander and waste after the  ways  
of to-day2 and be it from education1    
temperament1 or other motives1  ,i felt 
it my duty to economise for that good   
gentleman's purse even more  than for my
 own1 and therefore my inn could really 
be called a poorhouse  in spite of its  
pompous name1 for it was a third-class  
hotel2 but the  distance was great1 and1
 to mortify the ,professor a little1 ,i 
wrote on  his studio door--,g4 ,dupr at 
home on such a day and such an hour4    
,sidenote3 ,,professor ,,angelini4      
,he will come1 he will certainly come1  
to see me at my inn to make his         
excuses4 ,poor ,angelini6 he is         
certainly absent-minded1 and am ,i not  
also  absent-minded8 ,he will come to   
find me out4 ,yes2 ,i stayed in ,naples 
six  months1 and never saw him4         
,something beyond absent-mindedness1 ,i 
think2  but so it was4 ,i told all this 

for amusement to his colleagues1 but    
they  took it seriously to heart1--so   
much so1 that at one of their academic  
meetings they proposed me as an         
,associate-,professor3 and ,angelini    
seemed  delighted1 and warmly supported 
my nomination1 so that naturally it was 
passed2 but ,i never went into his      
studio4 ,oh no4    ,yes2 ,i repeat it   
ten1 twenty times over4 ,my dear        
colleague1 this  happened in the month  
of ,january #ahec2 see what a good      
memory ,i have4  ,you1 it is quite      
natural1 have forgotten it1 because he  
who is guilty of  such things does not  
take heed of them1 neither should the   
person to  whom they are done1 unless he
 be as black as ,loredan1 who wrote down
 the  death of the two ,foscari in his  
book of ,debit and ,credit4 ,therefore  
let  it be understood1 that ,i did not  
take note of it1 and don't remember it2 
but if you ever take it into your head  
to return to ,florence1 and1  passing   
casually through the ,via della         

,sapienza1 you would like to rest  a    
little in my studio1 you can do so2 and 
the best of it is1 that ,i do  not name 
the day or the hour1 only take this     
journey and make this visit  soon1 for  
we are now both old1 and ,i shall not   
return to you1 for ,i am  afraid of     
finding the door shut6    ,here ,i come 
to the moral4 ,i speak of artists4 ,the 
desire to see the  works and also become
 acquainted personally with contemporary
 artists is  a good sign2 it indicates a
 spirit of emulation1 a wish to learn1  
and  form bonds of friendship1 so to    
discuss and bring to light errors and   
doubts on questions of art4 ,but if the 
artist with whom you desire to  speak   
names a certain day and hour1 then      
answer at once1 ,thank you very  much1  
but ,i cannot come4 ,tell him this      
untruth--it will be but a small  sin2   
whereas he who imposes upon you a day   
and hour gives himself so  much         
importance that he resembles that ugly  
and haughty signor called  ,pride4      

,sidenote3 ,,shaking ,,hands4    ,there 
are some medicines so proper and        
efficacious1 that once you have  taken  
them1 you are radically cured1 and for  
good4 ,angelini cured me of  the wish to
 knock at studio doors2 and the ,signora
 ,marchesini cured me  of another habit1
 formed either by custom or stupidity1  
of shaking hands  with everybody1       
especially with women4 ,the ,signora    
,marchesini was at  that time 7,i am    
speaking of about thirty years ago7 an  
aristocratic lady  of a certain age--one
 of those persons who1 without even     
taking the  trouble to turn to look at  
any one who came to see her1 would      
answer the  salutation and bow          
prescribed by good breeding with an     
addio and a  good evening when one took 
leave1 were it even at midnight4 ,such  
was  the ,signora ,marchesini4          
,sidenote3 ,,embracing ,,friends4       
,one night ,i went into her box at the  
,pergola1 and going up to her ,i  bowed 
and put out my hand4 ,ass that ,i was6  

,i did not know that this act  of       
familiarity was not allowed to          
inferiors2 and putting aside  nobility  
of birth1 ,i was her junior by thirty   
years1 and perhaps this  offended the   
austere lady more than anything else4   
,the lesson1 however1  was a good one2  
and from that day1 in fact from that    
evening1 ,i have  never since been the  
first to offer my hand to any woman1 old
 or young4  ,all this nonsense reminds  
me of a much rougher and more vulgar    
instance  of haughtiness1 from which my 
beloved wife was the sufferer4 ,she was 
as  simple and good1 poor darling1 as   
the woman who offended her was hard  and
 proud4    ,i had gone to pay a visit to
 a friend of mine1 a gentleman of noble 
birth1 education1 and tact1 with whom ,i
 had friendly relations4 ,my wife  was  
with me1 and he was in the drawing-room 
with his1 who was ,french by  birth1    
much younger than himself1 and whom he  
had lately married4 ,as  soon as my     
friend saw me he spread out his arms1   

and we embraced each  other2 my wife1   
with a feeling of spontaneous           
tenderness1 pressed  forward to embrace 
the young lady1 but she drew back1      
perhaps not  thinking it beseeming or   
according to etiquette to embrace a     
woman the  first time she saw her1 even 
although she was much older than        
herself4  ,my poor ,marina1 with her    
purity of soul1 did not feel offended1  
but  turning to me she timidly asked1   
,have ,i done wrong8    ,you6 no1 my    
dear2 but another time stand on your own
 ground4 ,that woman  did not deserve to
 be embraced by you4    ,my friend took 
no notice of anything1 and shortly after
 we left the  house4 ,i do not know why1
 but this remembrance goads me more and 
more  every day2 it stimulates my love  
for her who now smiles at all these     
miseries--she who was so worthy of all  
honours1 who desired and was able  to   
keep herself always good1 mild1 and     
compassionate--a good wife1 a  good     
mother1 truly a lady by her virtues1 and

 not by reason of her birth  and riches4
 ,more ,i should like to say1 but       
cannot2 ,i look with anxious  love for  
the words that fail me1 and ,i think    
that the innermost  lineaments of that  
temperate1 strong1 patient soul can be  
felt but  cannot be portrayed4          
,sidenote3 ,,amusements ,,at ,,naples4  
,i continued to get better and better in
 ,naples4 ,the medical man insisted     
that ,i should walk a great deal and    
take simple and abundant food--a  little
 soup1 roastbeef1 and a plate of        
vegetables1 and nothing else1 for       
dinner2 for breakfast1 after my bath and
 walk1 a glass of cold milk and  some   
bread4 ,as a distraction for my mind1 he
 recommended my seeing and  talking with
 people ,i liked1 and going to the      
theatre of an evening4 ,at  first the   
theatre bored me2 ,i did not understand 
those little bouffe  comedies in dialect
 at the ,fenice and ,san ,carlino1 and  
all those  repartees of ,punchinello    
irritated me4 ,it was bad for me to go  

to the  ,san ,carlo1 where they were    
giving the ',trovatore' with the ,penco1
  ,fraschini1 and the ,borghi-mamo1 and 
',othello' with the ,pancani1 for they  
made me weep1 not on account of the     
dramas themselves1 which ,i already     
knew1 but on account of the music1 which
 had such a strong effect on my  nerves4
 ,for these reasons ,i was obliged to   
give up the music at ,san  ,carlo1 and  
',punch' at ,san ,carlino and the       
,fenice1 and took refuge in the         
,sebeto1 a very small theatre1 where for
 the most part were represented  dramas 
in bad taste1 artistically speaking1 but
 not as far as morals are               
concerned--exaggerated characters1      
forced situations to create  immoderate 
effects1 c41--in fact1 dramas of the    
,federici stamp1 to  touch the hearts of
 the populace1 but not calculated to    
influence them  with voluptuousness1 the
 more dangerous when veiled in the      
attractive1  graceful1 and polished     
forms of cunning sophistry4 ,then these 

dramas  were not in dialect1 and        
',punch' only came in at the farce1 and 
for such  a very small part that ,i     
could bear him1 and little by little    
began to  understand and appreciate him4
 ,as ,i have already said1 the theatre  
was a  necessity for me1 and it entered 
into my sage's system of treatment2  but
 he added that ,i was not to take the   
recreation by myself1 but in the        
company of my wife and child1 and with  
as much ease as possible1 so that  it   
was necessary to take a small box1      
which1 as the theatre was so small  and 
unpretending1 was not a very great      
expense4 ,perhaps the idea of  economy  
never once occurred to the generous     
sovereign who came to my  aid1 but ,i   
used to think of it1 as ,i have before  
said4    ,sidenote3 ,,churches ,,at     
,,naples4    ,thus1 with so much to     
divert my mind1 during the day going to 
see the  public monuments and the       
churches in which this immense city is  
so rich1  and at evening to the theatre1

 my recovery was completed4 ,nor were   
there  wanting splendid works of art1   
besides the collection of ancient       
bronzes1 unique in the world1 and       
wonderfully useful to the students of   
sculpture4 ,the ,church of ,san         
,gennaro1 with its monuments1 amongst   
which  are those of ,carlo d',angio1    
,carlo ,martello1 and ,clemenza his     
wife2 ,san  ,paolo1 built on the ruins  
of the ,roman theatre where ,nero used  
to appear  in public and declaim his    
verses1 and where ,metronate gave his   
lessons  in philosophy1 which were      
attended by ,seneca as his pupil 7what a
 lesson  to young men672 ,santa ,chiara1
 with its monuments to the ancient kings
 of  ,naples1 which once was all        
frescoed over by ,giotto1 and has been  
most  barbarously whitewashed by ,berio 
,nuovo2 ,sant',angelo a ,nilo1 with that
  splendid monument to ,cardinal        
,brancaccio1 one of ,donatello's finest 
works2 and ,san ,domenico               
,maggiore1--all these monuments1 as much

 for  their beauty as for the historical
 records they contain1 are worthy of    
the greatest attention and study1 and   
are calculated to inspire ideas  and a  
desire to work4    ,sidenote3           
,,indifference ,,to ,,what ,,is ,,near  
,,us4    ,but often it happens that the 
most valuable things one has1 so to     
speak1  at one's very door1 are not     
thought anything of--not even noticed2  
and  such was the case then with some   
artists in ,naples1 who either did not  
remember or were not acquainted with    
their own artistic treasures4 ,i        
remember a young sculptor who often     
lamented that ,naples was wanting in    
art of the middle ages4 ,i reminded him 
of the monuments above mentioned1       
dwelling especially on that by          
,donatello1 to which he answered that he
  did not know it4 ,go to see it1 ,i    
said2 it is unpardonable in you not  to 
know it4    ,after some time ,i saw the 
youth1 and said to him--    ,well1 did  
you see the monument by ,donatello1 and 

what did you think of  it8 to which he  
answered1 ,i found that ,i had already  
seen it once  before1 but did not       
remember it4    ,then1 thought ,i to    
myself1 there is an end of all hope for 
you4    ,sidenote3 ,,ciceroni ,,and     
,,their ,,ideas4    ,it is certainly a  
most painful fact that some of the      
finest works of our  elders are either  
entirely ignored or not cared for1 but  
it is most sad  when this indifference  
comes from young men who have dedicated 
themselves to art4 ,that the usual      
ignorant ciceroni who show strangers    
the sepulchral chapel of the ,princes of
 ,sangro take no notice of the  monument
 by ,donatello is natural enough1 but it
 is none the less  disgusting to hear   
them pouring forth their opinions after 
the following  fashion3 ,see1 gentlemen1
 these statues are the stupendous work  
of the  famous ,venetian ,antonio       
,corradini4 ,observe the two statues    
that stand in  the arch by the columns  
of the high altar2 they are miracles of 

sculpture2 one is by ,corradini1 and one
 by ,quieroli4 ,the first  represents   
the mother of the ,prince ,don          
,raimondo1 who restored and  enriched   
this chapel--which was founded by the   
,prince ,don ,francesco in  #aeij--with 
precious marble4 ,the statue represents 
,modesty--one of the  principal virtues 
that distinguished the ,princess4 ,see1 
gentlemen1 she  is enveloped in a       
transparent veil1 beneath which is      
revealed the whole  of her figure3 this 
is a method of sculpture unknown even to
 the ,greeks1  for the ancients only    
painted their draperies1 but did not cut
 them in  marble4 ,the other prodigy of 
art is a statue representing the father 
of  the ,prince himself as              
',disinganno4' ,in this statue behold a 
man caught  in a net2 you see all the   
meshes of the net1 and inside it the    
body  itself4 ,the stranger1 meantime1  
stands there open-mouthed1 admiring     
these statues1 in which1 to tell the    
truth1 one could not too deeply  deplore

 the time and patience that have been   
wasted on work whose only  object is to 
arrest the attention of vulgar people1  
who take all these  material and        
mechanical difficulties for the         
essential and only aim in  art4 ,all    
this1 ,i repeat1 is disgusting if you   
like1 and rather  ridiculous2 but the   
people of the country1 and most         
particularly  artists1 ought to laugh at
 such works as these1 as well as their  
admirers4 ,this mania for the difficult 
and surprising1 to the detriment  of    
beauty itself1 which is so simple1 has  
carried corruption into art  itself as  
well as to its amateurs--so much so1    
that dresses of rich  stuffs1           
embroideries1 laces1 and like trifles1  
which need but a little  patience and   
practice to produce1 have to-day become 
so much in vogue as  to really make one 
fear that art is in danger1 and that    
research and  study to reproduce the    
beautiful will be replaced by work of a 
sort of  asinine patience1 which        

surprises and impresses only            
simple-minded1  vulgar people1 and      
dilettanti4 ,and propos of dilettanti1  
,i wish to  express my opinion that     
although they may take pleasure in      
painting and  sculpture they are not of 
the slightest use to these arts4        
,dilettanti  are generally              
gentlemen--fine gentlemen1 sometimes    
even princes--and in  consequence of    
their station and wealth1 are surrounded
 by a cloud of  small-minded people1    
who1 owing to the respect and deference 
they feel  for them1 are induced to     
praise them4 ,this cheap praise1 which  
is taken  so unceremoniously1 engenders 
in those who give it a false and        
sophistical tone1 with which they quiet 
their consciences1 ever  muttering1 ,you
 ought not to have said this2 it is not 
just--it is not  true4 ,as this internal
 grumbling is irksome1 the mind builds  
up a sort  of reasoning that holds out  
as long as it can1 and then falls for   
want  of that solid foundation1 ,truth1 

that alone can uphold any structure1 be 
it scientific1 artistic1 or literary4   
,with him who receives the praise1      
matters go far more easily2 he does not 
give it another thought1 or if  he does1
 it is from excess of vanity that he    
sniffs the remaining odour  from that   
small cloud of incense4    ,sidenote3   
,,cheap ,,praise4    ,sidenote3 ,a      
,,dilettanti ,,prince4    ,in ,naples   
there were two of these dilettanti      
princes1--one a painter1  the other a   
sculptor4 ,his ,royal ,highness ,don    
,sebastian1 ,prince of  ,bourbon1       
brother-in-law of the ,king of ,naples1 
was the painter1 and ,his  ,royal       
,highness ,count of ,syracuse1 brother  
of the same king1 was the  sculptor4    
,the last named died a little after the 
revolution in #ahfj1 and  of his        
artistic merits ,i have already spoken4 
,i shall therefore now say  two words   
about his ,highness ,don ,sebastian4 ,i 
had the honour of being  presented to   
him by the ,grand ,duke ,leopold1 who   

was at that time in  ,naples with his   
daughter the ,princess ,isabella1       
married to ,count  ,trapani1 who was    
expecting to be confined4 ,having been  
some time in  ,naples myself1 ,i went to
 pay my homage to him1 and he then made 
me  acquainted with his ,highness ,don  
,sebastian1 who was without pretensions1
  a simple1 modest man4 ,he asked for   
advice1 and he asked for it with such   
eagerness and persistency that it showed
 a desire to know the absolute  truth1  
that he might correct himself--and not  
truth disguised under a  veil of        
complimentary praise1 which only        
misleads4 ,and ,i1 with the  mildest    
words that ,i could find in the         
vocabulary of truth1 gave him  briefly  
and generally some advice2 for his wish 
to do something really  good was above  
his school and the studies he had       
followed4 ,although1 as  ,i have said1  
he had a sincere desire to hear the     
truth1 yet ,i became  aware that the    
language ,i used was quite new to him4  

,i can add1 however1  that he did not   
feel hurt by it1 as he often wished to  
see me and hear  me1 and corrected      
himself or tried to do so in many       
things1 thus  indicating confidence and 
goodwill4 ,at this time he was painting 
a large  picture for an altar1 which he 
presented to the church of ,san ,giacomo
  degli ,spagnuoli1 above ,toledo1 and  
,i remember that he gave me a drawing   
of it4 ,he had taken refuge in ,naples  
with the king his brother-in-law1  owing
 to the part he had taken as a          
,legitimist against the government of   
,queen ,isabella1 who had confiscated   
all his revenues2 and he mitigated  the 
bitterness of exile and poverty by his  
devoted love for art4 ,after  some time 
he was restored to his country1 and     
reinstated in his  property1 so that at 
last he must have comforted himself with
 his own  bread1 having known how salt  
was that of exile4 ,he returned to his  
country1 and who knows if he did not cut
 off his beard1 which he used to  wear  

full and long1 after the fashion of     
,spanish ,legitimists8 ,strange to  say1
 in ,italy at that time1 especially in  
,naples1 a beard was the sign  of just  
the contrary--that is to say1 of a      
,liberal2 and the annoyances  caused by 
the police on this account were so      
ridiculous as to be quite  disgusting4  
,one was obliged1 however1 to conform to
 all this1 for if a  young man desired  
not to be exposed to worse annoyances1  
he was obliged  to shave his chin4 ,he  
might keep his moustache and whiskers   
after the  ,german fashion1 or wear his 
whiskers alone like the ,english--he was
  quite free to do that2 but a beard on 
his chin1 be it long or short1          
indicated ,liberalism3 and as ,i have   
said1 he was immediately marked by  the 
agents of ,del ,carretto1 ,minister of  
,police1 and1 willing or no1 was        
obliged to shave to avoid something     
worse4 ,at that time1 therefore1 the    
manliness of a ,neapolitan showed itself
 everywhere but on his chin4 ,in  all   

,naples--with the rare exception of some
 foreigner1 the ,prince ,don            
,sebastian1 who was anything but a      
,liberal1 the ,count of ,syracuse1 and  
,count of ,aquila1 brothers of the king1
 whom the police hounds could  growl at 
but not bite--not for a million of money
 could a beard be seen1  unless it were 
mine1 which1 although not so luxuriant  
as it is now1 was  still more than      
enough for the police4    ,sidenote3    
,,beards ,,in ,,naples4    ,during the  
days that the ,grand ,duke remained in  
,naples1 he desired to  see the museums 
and other monuments of this great city1 
and wished me to  accompany him1 out of 
simple kindness1 for his ,highness acted
 as my  guide1 being much better        
acquainted with them than ,i was4 ,this 
driving  up and down the streets of     
,naples in a ,court carriage1 with a    
full  beard on my face1 upset all the   
ideas of those poor sbirri4 ,some       
people took me for a ,spanish           
,legitimist2 and others--especially the 

sentinels at the palace--christened me  
at once a relation of the royal         
family1--so much so1 that they presented
 arms to me every time ,i passed  by4   
,must ,i admit that ,i took pleasure in 
this1 returning their salute  and       
passing before them as if ,i had been a 
true prince8 ,viva my  beard6 said ,i to
 myself2 but see how things are going in
 this country6  ,some people are sent   
almost to the gallows for wearing a     
beard1 and to  me they are presenting   
arms4 ,one evening1 however1 even ,i    
came very near  being sent to prison4 ,i
 was walking in the ,strada ,toledo1 and
 about to  return home4 ,near the       
turning of the ,orefici by the ,palazzo 
dei  ,ministeri1 there was a print-shop 
lighted by a reflected lamp1 that  threw
 a light upon it as brilliant as day4   
,there were some ,french  engravings1   
such as the ,death of ,richelieu1 the   
,death of the ,duke de  ,guise1 and ,i  
know not what else4 ,i felt a hand on my
 shoulder2 turning  round ,i saw some   

one gazing attentively at me1 and before
 ,i had time to  ask him what he wanted1
 some one else took the man by the arm  
and said1  ,don't occupy yourself with  
him2 he is one of the royal household2  
and  away they went in the crowd1 and ,i
 saw them no more4    ,sidenote3 ,i     
,,pass ,,for ,a ,,prince4    ,sidenote3 
,,la ,,bottiglia4    ,i hurried home1   
for fear of finding others who might not
 share the same  opinion4 ,my wife and  
little one were waiting for me to go to 
the  theatre1 and ,i remember that they 
were then giving ',edmondo ,dante1      
,count  of ,monte ,cristo1' a monstrous 
production which lasted twelve          
hours--divided1 however1 into three     
evenings4 ,my little box was on the     
first tier near the orchestra1--and such
 an orchestra6 ,two violins1 one        
double-bass1 a clarionet1 and a flute1  
the music being pieces adapted  from the
 ',trovatore'2 and such an adaptation6  
,good heavens6 ,all this  cost me--that 
is to say1 cost the ,grand ,duke--four  

carlini1 including  the bottle1 for in  
,naples one must always pay for the     
bottle to  every one4 ,really in that   
fortunate country one required to have a
  carlino always in hand4 ,i don't know 
how it is now1 but then every one  was  
constantly drinking4 ,ushers1           
inspectors1 custodi--all asked for  this
 bottle with the utmost frankness and in
 perfect seriousness4 ,i1  who went     
often to the museum1 wished to have my  
cane to lean on1 as  there were no      
chairs to sit down on2 but ,no1         
sir1--the porter1 with  his great       
cocked-hat1 came and took it away1      
having the right to do so1  as it was   
against the regulations4 ,when ,i left  
he gave it back to me1  always saying1  
,your ,excellency1 the bottle1          
pronouncing these words  with such      
dignity that you would have thought they
 were part of the  royal regulations2   
and ,i used to give it--that is to say1 
a  half-carlino at every section4       
,pompeian paintings1 statues and        

bronzes1 ,etruscan vases1 ,renaissance  
paintings and drawings--each had a      
custode1 and all wanted a drink4        
,perhaps now they are no longer         
thirsty1 which will be all the better   
for the poor visitor4 ,i paid these     
half-bottles1 or rather half-carlini1   
most unwillingly1 for to be  always     
paying out is in itself most tiresome2  
and ,i was more out of  temper than     
really tired1 not being able to find a  
seat anywhere4 ,one  day a painter who  
was copying there was moved to pity1 and
 offered me  his stool4 ,it is not      
unnatural that a man who was both poor  
and unwell1  should be unwilling to pay 
out money in gratuities1 and should look
 upon  that given to the porter as the  
hardest part of all1 as it was to pay   
him merely for taking away the stick he 
had to lean on4 ,the consequence  was1  
that not being able to bear this lucro  
cessante and danno  emergente1 as they  
say in law1 ,i made bold to say to this 
high  personage 7he was at least a palm 

taller than ,i71 ,listen1 signor2 ,i    
will no longer give you the bottle4     
,sidenote3 ,,fees ,,for ,,admission ,,to
 ,,the ,,galleries4    ,why not1        
,excellency8    ,because you take away  
my stick1 which would be a comfort for  
me to lean  on4    ,well1 well1 he      
answered1 keep your stick1 ,excellency2 
but remember  the bottle4    ,i         
understand1 ,i quite understand--and add
 a little more to it4    ,and the eyes  
of that ,argus brightened1 although he  
was by way of  shutting them as far as  
the regulations were concerned4 ,the    
necessity  for drinking1 it seems1      
belongs to this people1 and it must be  
on  account of the hot air they breathe1
 all impregnated with the salt from  the
 sea4 ,therefore ,i fancy this desire of
 theirs has not yet been  allayed1 for  
even ,i drank a great deal when ,i was  
there1 only it was  water1 which is so  
good1 so fresh1 so light1 that it is a  
pleasure to  drink2 but alas6 so many   
prefer the bottle4 ,if1 however1 even   

against  the natural order of the       
country1 this has been suppressed       
amongst the  subalterns1 it has been    
adopted by the heads themselves1 as the 
,minister  of ,public ,instruction has  
decreed an entrance-tax for every one   
who  wishes to see in our galleries the 
works of ,raphael1 ,michael ,angelo1 or 
our other glorious fathers1 who in their
 simplicity certainly never  thought of 
being obliged to show themselves at so  
much a head like some  wild beasts4     
,sidenote3 ,,admission ,,fees ,,to ,,the
 ,,public ,,galleries4    ,it is a      
curious thing 7which induces me to think
 that thirst must be in  the air of     
,naples7 that this bottle-tax was       
instituted by a ,neapolitan1  the       
,honourable ,ruggero ,bonghi1 who1 be it
 said with all due respect1  seems to be
 less anxious for the decorum of art and
 the advantage of  artists than for an  
economy which1 to say the truth1 is but 
a shabby  one4 ,i know quite well that  
artists are free from this tax1 but they

  must be provided with a certificate1  
which is always a restriction2 and  it  
is also true that artists1 and those who
 are not artists1 can enjoy  free       
entrance1 but only on festa days4 ,it   
comes to the same as if to  one who     
said1 ,i am hungry1 you answered1 ,you  
shall eat next week4 ,is  it believed   
that only those students who are        
provided with certificates  are to      
become artists8 ,art learns more from   
example than from precept1  as it is    
with every other thing4 ,i should be    
curious to know if  ,demosthenes and    
,cicero lived before or after the       
,treatise on ,eloquence1  or if ,phidias
 studied at the ,academy1 and paid a tax
 for admission4  ,then1 also1 this is   
the common property of all1 and         
therefore its  advantages should not be 
restricted4 ,the answer is1 that the    
entrance-tax is used for the maintenance
 and decorum of the galleries           
themselves4 ,the decorum and support of 
the public galleries never  suffered    

from the want of this in bygone days2   
why should they feel the  need of it    
to-day8          ,,chapter ,,xiii4      
,,never ,,make ,a ,,present ,,of ,,your 
,,works--,,pope ,,rezzonico ,,by        
,,canova--,,tenerani--,,overbeck',s     
,,theories--,,minardi ,,and ,,his       
,,school--,a ,,woman ,,from ,,the       
,,trastevere ,,who ,,looked ,,like ,,the
 ,,venus       ,,of                     
,,milo--,,conventionalists ,,and        
,,realists--,,an ,,ambitious ,,question 
,,and ,,bitter ,,answer--,,filippo      
,,gualterio4      ,the church of ,gesu  
,nuovo was at that time under the       
ordinance of the  ,jesuit ,fathers1 and 
one of these fathers1 who was devoted to
 the church1  set on foot a work which  
did him much honour4 ,though the church 
was  beautiful in its design and        
decorations and rich in marbles1 the    
high  altar was of wood1 and this was   
quite out of keeping with the general   
effect4 ,padre ,grossi1 who was as      
learned as he was zealous in his        

religion and a lover of art1 made the   
resolve that this altar should be       
entirely renewed and reconstructed of   
precious marble1 and he succeeded  in   
carrying this into effect4 ,everybody   
contributed--the ,court1 the  nobility1 
the people1 owners of marble1 and       
artists4 ,it was not1  however1 yet     
finished2 some ornaments were still     
wanting1 and among  these the panels of 
the pyx4 ,i was asked by ,padre ,grossi 
to make a model  for this to be cast in 
silver1 and ,i cheerfully accepted the  
commission4  ,the subject1 which was    
singular and unusual1 but extremely     
pleasing1 was  suggested to me by the   
,padre himself4 ,it represented a       
youthful female  figure1 accompanied by 
an angel1 at the foot of the altar1 who 
came to  partake of the mystic bread4   
,as soon as ,i had finished the model1  
,i sent  it to ,padre ,grossi1 who      
expressed his satisfaction with it4 ,not
 so the  superior and the other fathers1
 to whom the subject seemed to be too   

unusual4 ,the superior wrote me a very  
courteous letter of thanks1 the         
substance of which1 stripped of all its 
sweet and useless phrases1 was  that he 
could not give his approval to the work4
 ,i then took back my  model and        
presented it to ,professor ,tommaso     
,aloysio ,juvara1 who kept it  as a     
pleasant memorial of me2 and thus this  
work also1 which was  intended as a     
present1 fell through4    ,sidenote3    
,,my ,,mental ,,condition4    ,the time 
for my return to ,florence now drew     
near1 for my health could  now be       
considered as quite restored1 save that 
a slight melancholy still  hung about   
me1 induced by an importunate and       
persistent feeling that  made me doubt  
my own powers to overcome the           
difficulties of art1 and of  that art   
upon which ,i had at first entered1 as  
it were1 in triumph4 ,i  was oppressed  
by a torpor or indecision1 a sense of   
something vague and  undefined1         
resembling that state of moral weakness 

which shows itself in  sudden impulses  
and as sudden prostrations--all         
indications of lively  fancy and active 
sensibility1 together with a great      
weakness of judgment  and will4 ,in a   
word1 ,i had become a coward4 ,in my    
excited imagination ,i  felt the beauty 
of art1 but ,i could not bring myself to
 lay hold of it1  and express it1 and   
reproduce it4 ,i desired to go back to  
my first  steps1 and so felt my vanity  
offended4 ,the bello ideale1 ill defined
  and ill understood1 smiled upon me    
with all its flattering and illusory    
charms4 ,at slight intervals ,i seemed  
to feel these allurements1 and then     
again ,i suddenly fell into uncertainty4
        ,e quale  quei1 che disvuol ci  
che volle          ,e per novi pensier  
cangia proposta2#h     #h  ,and like to 
one who unwills what he wills1          
,and changes for new thoughts his       
purposes4                               
--,,dante3 ,inferno1 ,canto ii4    this 
was my state1 and it afflicted me4      

,sidenote3 ,,statue ,,of ,,pope         
,,rezzonico4    ,the decision which was 
to overcome all my uncertainty came to  
me from an  idealist1 or rather from an 
imitator of ,greek art1 ,canova1 and    
from one  of his works not drawn from   
the ideal1 but from life4 ,i was about  
to  return from ,rome to ,florence1     
when1 as ,i stood looking vaguely about 
one  morning in ,st ,peter's1 a prey to 
fleeting and changeable thoughts1 my    
eyes were arrested by the statue of     
,pope ,rezzonico4 ,how often ,i had     
looked at that grandiose monument and   
passed on6 ,this time the movement  and 
expression of concentrated feeling in   
this statue1 united with a  sentiment of
 imitation so strong1 and yet so free   
from minute and  servile detail1 made a 
great impression on me2 and this was all
 the more  vivid1 because ,i could      
confront it with the other statues of   
the same  monument1 all of which are    
characterised by mannerism and imitation
 of  the antique4 ,this comparison stood

 me in stead of the most powerful of    
reasonings and criticism1 and ,i seemed 
to hear a voice issue from those        
marbles which said1 ,see the great      
affection and study that ,canova has    
given to these statues1 and still they  
do not speak to your heart like  that   
praying figure of the ,pope4 ,why is    
this8 ,reflect6 ,and1 in fact1 ,i  know 
no subject more worthy of consideration 
than to seek among the  statues of      
,canova for the reasons of his          
oscillation between the  imitation of   
nature and the imitation of the antique2
 for exactly here  is the knot of that  
grave question which even to-day keeps  
artists  divided into two schools--that 
of the ,academicians and that of the    
veristi4    ,sidenote3 ,,canova ,,and   
,,the ,,bello ,,ideale4    ,doubtless   
nature is the foundation of art1 as     
beauty is its object2 and  to forget    
either one or the other is to fall into 
error4 ,if we kept  these two cardinal  
points in our mind1 and made them both  

subjects of  study in our works1 all our
 discussions and disputes would cease4  
,but it  too often happens that the     
,academicians1 holding too strongly to  
the  beautiful as the end to be         
attained1 forget that its foundation is 
in  the truth or nature2 while the      
,realists1 blindly trusting to nature1  
which when it is not subjected to       
selection is a bad foundation1 lose     
sight of the true end1 which is beauty4 
,now in the works of ,canova we  see a  
constant endeavour to harmonise the     
beautiful with nature2 but as  the cry  
of bello ideale 7a magic phrase invented
 at that time7 was  then loved1 with the
 painter ,david leading the chorus1 and 
the imperial  cannon sounding the       
accompaniment1 the interior voices and  
protests of  the ,christian artificers  
were either drowned or lifted to the    
hundred  pagan deities whom the         
epicurean philosophy of the time        
demanded1 and to  whom they burned their
 incense4 ,but the genius which nature  

had given to  this great artist         
triumphed over the tendencies of his    
time1 over the  cry of pedants and the  
imperial favours2 and the ,pope         
,rezzonico1 and  ,pius ,,vi41 and the   
,magdalen1 are there to demonstrate the 
singular force  of that genius which    
alone battled against the torrent of the
 schools  and the tyranny and customs of
 his age4 ,these works of his are rays  
of  that light which first illuminated  
the mind of this great artist1 when1    
still young and free in his             
inspirations1 and unbiassed by rules1   
counsel1 and praise1 he conceived and   
executed that wonderful group of        
,icarus4    ,in this careful spirit of  
examination and reasoning ,i again      
reviewed and  studied the masterpieces  
of ancient and modern art1 and many of  
the  judgments which had been distorted 
by my poor brain during my first  visit 
were afterwards rectified4 ,i became    
attached with reverent  friendship to   
,minardi1 ,tenerani1 and ,overbeck2 and 

although all three  followed the school 
of the mystical ideal1 which was far    
from  conformable to the rich and       
inexhaustible variety of nature1 ,i     
admired  in them their profound         
conviction in the excellence of their   
school2 and  although ,tenerani united  
to his mysticism the graces of antique  
form1  still it seemed to me that       
precisely on this account he was often a
  timid friend to nature4 ,when1        
however1 he was not dominated by a      
preconceived idea--,i mean in his       
portraits--he was really and            
incontestably true to nature4 ,his      
,count ,orloff1 though inspired by the  
statues of the philosophers in the      
,vatican1 is not inconsistent with  this
 opinion2 and his ,pellegrino ,rossi and
 his ,maria of ,russia are  perfectly   
original1 and show no preoccupation of  
his mind except with  nature4 ,and it   
then seemed to me strange1 as it still  
seems1 that an  artist1 in portraying a 
fact or a personage1 however ideal1     

should  attempt to draw it purely from  
an idea1 and not from living nature2 for
  his idea is for the most part only a  
remembrance of what he has seen4  ,the  
two processes are quite different2 for  
the idea reaches out for the  source of 
truth or nature1 which is infinitely    
varied1 while the memory  retains types 
and figures of other works of so small a
 scale in variety  that its extreme ends
 soon meet each other4    ,sidenote3    
,,tenerani ,,and ,,overbeck4            
,overbeck was more ideal and mystical   
than ,tenerani4 ,he placed all the      
charm of art in the conception alone1   
and rarely or never used a model4  ,one 
day he said to me1 in a tone of the most
 absolute conviction1 that  models 7or  
nature7 destroyed the idea4 ,this       
theory1 which is eminently  false as a  
general proposition1 has a certain truth
 when applied to  sacred subjects and   
representations of divinity1 and        
specially in regard  to those artists   
who in painting a ,madonna make a       

portrait of a model4  ,the imitation of 
life is certainly necessary even in     
sacred subjects2  but it is difficult so
 to select and portray them that the    
religious  idea does not become         
obscured1 as well on account of the     
vulgarity as of  the excessive realism  
and expression of the model4 ,the       
expression it is  absolutely necessary  
that the artist should create1 if he has
 it in  him1--and only so far as this   
,overbeck was right4 ,then1 indeed1 is  
the  opportunity for the bello ideale1  
which is so ill understood and ill      
treated2 for the ideal is in substance  
nothing else but the idea of the  truth 
in nature1 and diffused over all        
creation1 as well in the material  as in
 the intellectual world4 ,and every     
artist of heart and just  perceptions   
feels it and sees it1 and recomposes its
 scattered parts by  means of long study
 and great love4    ,sidenote3 ,,minardi
 ,,and ,,his ,,school4    ,minardi1 the 
father1 so to speak1 of all the artistic

 youths of his day1  strove to reform   
them in taste and composition1 founding 
himself on the  works and the canons of 
the ,cinquecentisti4 ,this recognition  
is all  the more due to him when we     
remember that precisely at this time1   
when  he was endeavouring to carry out  
this reform1 he had before him          
,camuccini and all his school in full   
vigour1 and that now ,minardi's  school 
is flourishing and strengthened as much 
by the conquests he has  made in variety
 of imitation from nature as in mastery 
of colour4 ,i have  said that ,minardi  
was like a father2 and so he was4 ,he   
treated his young  pupils as if they    
were his children1 kept them in his own 
studio1 and ,i  have seen               
three--,consoni1 ,mariani1              
,marianecci--and many others around  him
 gaily jesting with their venerable     
master4 ,his portfolios and albums  were
 always open to all1 and he delighted to
 show them1 and1 while  looking over    
their studies and compositions1 to add  

those words of  explanation1 counsel1   
and warning which are so useful to young
 artists4  ,i seem to see him now in    
that great studio of his1 which was     
somewhat in  disorder1 and encumbered   
with easels1 drawings1 cartoons1 books1 
prints1  and antique furniture--the air 
filled with clouds of tobacco-smoke     
which  issued from the pipe he had      
always in his mouth1 and he himself     
always  working or talking1 reading or  
writing4 ,he was affable1 gracious1 and 
eloquent1 and1 with those little eyes   
looking through his spectacles1 he      
seemed to read into your soul2 and if he
 found it sad1 he threw out a  word1 and
 awakened it again to life and courage4 
,one day1 seeing me more  than          
ordinarily melancholy1 he rose from his 
work1 took me by the hands1  and puffing
 from his pipe a larger volume of smoke 
than usual1 asked  what was troubling   
me2 and when ,i had made a clean breast 
of it to him1  he laid his pipe down1   
and embracing me1 said1 ,cheer up1 my   

son6 drive  away from your head all     
those whims3 go back to ,florence1 take 
up your  work again with courage1 and   
have more faith in yourself and in your 
powers4 ,it is an old man who is        
speaking to you1 who neither can nor    
will deceive you4 ,the words of the     
excellent master went straight to my    
heart1 and filled it with courage1 hope1
 and peace4    ,sidenote3 ,,roman ,,and 
,,florentine ,,models4    ,in this way1 
with studying the ancient monuments1 and
 going about among  the living artists1 
,i passed several days in ,rome4 ,the   
models1 and  particularly those of the  
artists ,i have named1 ,i found more    
robust and  rounded than our ,florentine
 models1 which are for the most part    
slender  and lymphatic4 ,among our girls
 you will not find1 though you should   
pay  a million1 such necks1 so firm and 
robust1 and at the same time so soft    
and flexible1 and like the examples     
which ,greek and ,roman art has left    
us4 ,so it seems that1 without seeking  

for the cause of the contradiction      
between the living nature ,i had found  
in ,florence1 and that which was        
represented in antique art1 ,i had come 
to the conclusion that the ,greeks  and 
,romans worked purely from ideas1 and   
corrected nature according to  that     
established rule which we call          
convention4 ,nothing is more  erroneous 
than this notion1 and the proof of it ,i
 found in ,rome itself1  as ,i shall now
 tell4    ,sidenote3 ,a ,,roman ,,model4
    ,sidenote3 ,,an ,,adventure ,,with  
,a ,,trastevere ,,girl4    ,whoever is  
familiar with the ,roman people will    
have observed a notable  difference     
between the figures of the common       
people1 and especially  those of the    
,trasteverini and the ,monti1 and those 
of the higher classes  who are in better
 circumstances4 ,the latter are more    
slender1 with a  fine and white skin1   
and often with chestnut hair2 while the 
former have  dark eyes1 skin1 and hair1 
are harsh and short in their ways and   

voices1  and for a mere nothing throw up
 their barricades1 and blood runs       
without  much lamentation over it4 ,you 
can easily see in these people their    
uninterrupted derivation from those     
fierce legions who planted their  eagles
 over all the then known earth4 ,nor is 
the blood in the women  different from  
that in the men2 and if the men carry   
their knives in  their pockets 7they    
certainly did then71 the women carried1 
thrust  across their massive knots of   
ebon hair with much taste1 a sharp      
dagger  with a silver handle1 which was 
in every way capable of sending any poor
  unfortunate devil into the other      
world4 ,one day 7it was ,sunday towards 
evening7 ,i was1 as usual1 dreaming     
about those busts or necks of ,minerva  
and ,polymnia1 and the ,venus of ,milo1 
and ,i know not how many other  antique 
statues1 which seemed to me to give a   
solemn contradiction to  all my little  
models of pastry that ,i had left in    
,florence1 and ,i  fixed my eyes on the 

neck of every woman that ,i passed4     
,this examination  induced me to modify 
in measure my opinion as to the         
conventionalism of  the necks of the    
antique statues2 and ,i should have been
 satisfied1 and  have changed my mind   
entirely1 even had ,i not purely by     
chance gone on  into the ,trastevere4   
,here there was a great number of young 
persons1  both male and female1--the men
 either in the pot-houses1 or gathered  
around the doors1 or standing in groups1
 and the girls in companies of  three or
 four walking up and down the street of 
the ,longaretta4 ,among  these ,i saw   
one who1 if she had been made on purpose
 to prove that the  necks of the antique
 statues were not conventional1 could   
not have here  offered a more absolute  
proof4 ,there were three girls1 two     
small1 and  one large who was between   
them4 ,she walked along with a slow and 
majestic step1 talking with her         
companions4 ,a sportsman who spies a    
hare1 a creditor who meets a debtor1 a  

friend who finds another friend  whom he
 thought to be far away or dead1 these  
give a weak notion of my  surprise in   
beholding this girl4 ,my dear reader1 ,i
 do not in the least  exaggerate when ,i
 say that ,i seemed to look on the      
,venus of ,milo4 ,her  head and neck1   
which alone were exposed to view1 were  
as like that  statue as two drops of    
water4 ,i was astounded4 ,i turned back 
to look at  her again1 and it would have
 been well for me had ,i contented      
myself  with this2 but ,i wished to see 
her yet once more4 ,the girl1 who had   
not  an idea within a thousand miles of 
what ,i was pondering1 nor of the       
corrections that ,i was formulating on  
an sthetical opinion of such  great     
importance1 suddenly stopped1 and taking
 the dagger from her hair1  advanced    
towards me1 and with a strong and almost
 masculine voice1 said  to me1 ,well1   
,mr ,dandy1 does your life stink in your
 nostrils8 ,i shot  off home directly1  
looking neither to the right nor left2  

and when ,i  arrived ,i told my wife    
what had happened1 and she reproved me  
gently for  making my studies so out of 
time and place4 ,now ,i ask1 why this   
disdain8  ,had ,i been guilty of        
anything improper in looking at the     
girl8 ,is it  possible that she could   
have really been offended8 ,i do not    
believe it4  ,i know something about    
women1 and ,i know that it is their     
weakness to  try to attract attention4  
,it is more probable that there was some
 one  near her to whom the girl wished  
to show that in respect to anything     
touching her honour she was too fierce  
to allow any other person even to  look 
at her4 ,leonardo none the less counsels
 us to study from nature1 in  the open  
air1 not only by looking1 but also by   
taking notes2 and he  makes no exception
 as to the ,trasteverini4 ,for the      
benefit of young  artists1 ,i propose to
 add a note on this subject to all new  
editions of  ,leonardo4    ,sidenote3   
,,greek ,,life ,,and ,,models4    ,the  

discovery of this beautiful head and    
neck of the antique style and  character
 set upon a living girl 7and what a     
complexion67 led me to  consider how    
many other parts of incontestable beauty
 which we find in  the antique statues1 
and so readily believe to be born of the
  imagination of the ,greek sculptors1  
are really to be found in nature2  and  
the ,greeks only selected them for      
imitation4 ,but if this be so1 how  can 
the absolute deficiency of such models  
in our day be explained8 ,then  ,i      
considered the different education of   
this people1 their warlike  lives1 their
 games1 and prizes at throwing the disc1
 racing1 boxing1 and  the esteem in     
which physical beauty was held4 ,if1    
indeed1 for these  reasons there is in  
our day a deficiency of fine models1 we 
are not  absolutely without them1 as    
this spirited and beautiful girl clearly
  proves2 and ,i firmly believe she must
 have been in respect to all the  rest  
of her body an excellent model4 ,hence  

the necessity of carefully  selecting   
our models4 ,in this respect1 however1  
we find ourselves in a  much more       
difficult position than the ancients4   
,first1 because1 as ,i  have said1 their
 education lent itself more             
efficaciously to the  development of the
 body2 and then1 because the public     
games afforded far  greater             
opportunities to see and select among   
them4    ,sidenote3 ,a ,,beautiful      
,,nude ,,model4    ,the first thing     
which assures a good result to a work is
 the selection  of good models2 and     
after taking great heed of this1 good   
imitation is  of absolute necessity4 ,i 
have observed that he who exercises     
little or  no selection1 and contents   
himself with the first model he sees1   
belongs  to that class of conventional  
artists who allow themselves such an    
infinity of additions and subtractions1 
and corrections of the model1  that     
generally only the remnants of nature   
are to be found in their  works2 while  

those who follow the opposite school    
copy the model  minutely just as it is1 
and even with all its imperfections4 ,if
 the  former remain cold and false1 the 
latter are vulgar and tasteless2 for    
they carry their love for truth to such 
an excess1 that they do not  distinguish
 the beautiful from the ugly4 ,nay1 they
 prefer the ugly1  because to them it   
seems more true because it is more      
common4 ,it  happened to me once to be  
in the studio of one of these young     
artists1  who was engaged on ,i do not  
remember what work4 ,when the model was 
stripped he was beautiful to see3 a     
small head1 squared breast1 an  elegant 
pelvis1 delicate knees and ankles1 and1 
in a word1 seemed the  ,idolino itself1 
living and speaking4 ,will you believe  
it8--he was set  aside4    ,but what are
 you doing8 said ,i4 ,don't you see how 
beautiful this boy  is8 ,copy him       
fearlessly4 ,he is beautiful as ,idolino
 himself4    ,that is exactly why ,i do 
not want him as a model4 ,i am afraid it

 will  be said that ,i have copied my   
,idolino4    ,sidenote3 ,,conventional  
,,imitation4    ,to such a point did    
their aberration arrive4 ,but at the    
same time1 ,i am  sure that if this     
model had fallen into the hands of one  
of the  idealistic reformers of nature1 
he would have been corrected 7that is1  
ruined7 in every part1 according to the 
suggestions of his stupid               
conventionalism4 ,this mania of         
correcting nature is in itself extremely
  injurious1 and the young artist must  
be constantly on his guard against  it4 
,a finished artist may sometimes do     
this1 because in his skill and          
experience he finds the limits and the  
measure of the liberty which are        
permissible4 ,indeed he is not aware of 
the corrections that he is  making1 and 
believes that he sees it so2 but this   
depends on the habit  of seeing and     
portraying beautiful nature4 ,but a     
youth who once is set  going on this    
incline never stops2 for he finds it far

 easier to draw  freely on his memory   
than to keep within the proper bounds of
 imitation4    ,i repeat1 then1 that he 
who does not select from beautiful      
nature with  studious love shows little 
faith in her beauty1 and thence come    
carelessness and unwillingness to       
portray her1 and then a headlong fall   
into the conventional4 ,he1 however1 who
 finds the beautiful in  everything1 or 
rather1 he who despises antique art and 
calls it  conventional1 even though it  
be by ,phidias1 is quite as conventional
  himself in his realism4 ,his wish is  
to be considered naturalistic and       
realistic at all hazards1 even to       
denying nature itself1 in case it       
reminds him of anything classic 7as we  
have already seen71 and at last  he goes
 so far as to puzzle his brains and     
struggle to arrange the model  and      
draperies so as to make them appear     
naturalistic4    ,i have seen an artist 
get into a rage because his draperies   
would not  come upon the natural model  

just as he wished1 and who kept tossing 
them  about and disarranging them so    
that they should not seem to be         
artificially disposed4 ,i observed to   
him that he was really arranging  them  
artificially1 so that they should not   
appear to be so arranged4 ,he  was      
making a seated figure in a cloak4      
,after the model had seated  himself1   
and thrown the cloak about him in folds 
which were perfectly  natural1 and fell 
beautifully about his body and knees1   
the artist kept  foolishly changing     
them1 putting them out of their proper  
place1  because1 he said1 that as they  
came naturally1 they looked as if they  
had been artificially disposed4         
,sidenote3 ,,arrangement ,,of           
,,draperies4    ,but that is not so1    
said ,i4 ,they arrange themselves       
naturally1 and  you keep disarranging   
them exactly like those artists whom you
 blame for  being imitators of the      
antique and conventionalists1 and you   
are in this  neither more nor less than 

a conventionalist like them1 and even   
worse1  for they always strive to put   
the folds in their proper place1 in a   
certain number and a certain            
disposition2 and though this is         
detestable  and tiresome pedantry1      
because it destroys that variety which  
is the  first attribute of nature1 still
 they are not renegades to it as you    
are1 when you thus obstinately insist on
 placing the folds where they  cannot   
possibly be1 with the pretence that     
otherwise they would seem  adjusted4    
,you1 even more than they1 are an       
illogical conventionalist4    ,but to be
 just1 ,i must say that at this time the
 neophytes of the new  school were few  
and scattered4 ,the school1 indeed1 is  
new only in so far  as it has carried us
 into the excessive1 the negative1 and  
the  illogical2 for the school of the   
veristi is as old as art itself1 and    
its principles are correct4 ,indeed1    
strictly speaking1 it has one single    
principle1 the imitation of nature2 but 

what the ancients meant was  imitation  
of life in its perfection1 while the    
moderns 7at least some of  them7 mean   
all life1 all nature1 even though it be 
ugly4 ,more than this1  they prefer the 
ugly and deformed1 not perceiving that  
the deformity of  nature is outside of  
true nature1 since any defect alters the
 essential  character of nature1 which  
consists of a harmony of parts answering
 to  beauty4 ,in a word1 the deformed1  
which is the same thing as the ugly1 is 
nature debased1 and thus ceases to be   
nature4 ,i am well aware that the       
veristi deny that they prefer vulgar and
 ugly nature2 and if their  denial were 
justified by their works1 ,i should     
entirely agree with them1  and my       
discourse on this subject would be      
entirely futile4 ,but saying is  not the
 same as doing4    ,sidenote3 ,,return  
,,to ,,florence ,,with ,a ,,fresh       
,,mind4    ,i returned to ,florence     
quite restored in health1 strengthened  
by the  example of the works of art in  

,rome1 and inspirited by the brotherly  
words of those old and venerated        
artists1 who1 alas6 now sleep the       
eternal sleep1 or rather1 who have waked
 from the brief sleep of life to  one   
eternal day4 ,the discovery of the      
famous head and neck of that            
,trasteverina had cured me of my        
prejudiced belief that the ancients     
corrected nature according to their     
completely ideal mode of looking at     
it--a belief which induces in the mind  
of the artist a weak faith1  slight     
esteem of nature1 and thence an         
unwillingness to imitate it1 and  an    
effrontery in correcting it4    ,before 
going to work in my studio ,i wished    
again to see and study1 in  view of my  
new convictions1 our own monuments4 ,i  
made the tour of the  churches1 palaces1
 and public and private galleries1 just 
as if ,i was a  stranger4 ,to many      
things indeed ,i might call myself      
really a stranger1  for ,i had either   
never seen them1 or but slightly and    

superficially4  ,from this examination  
,i came to the conclusion that the      
artists of all  times studied their     
predecessors1 and only imitated nature  
after having  studiously selected what  
was conformable to the idea which first 
rose in  their minds4 ,henceforth the   
way was clear1 the light shone upon it1 
and  the objects of art which ,i        
examined came out distinctly and really 
in  their true aspect4 ,never to my     
intellect had the veil which covers the 
subtle and recondite reasons of the     
beautiful seemed so clear and           
transparent2 and ,i felt tranquil1      
satisfied1 strong1 and ready to devote  
myself to my new works in the studio4   
,one incident1 however1 did  momentarily
 disturb this peace and security of     
mine4    ,sidenote3 ,,an ,,adventure    
,,in ,,the ,,pitti4    ,one day ,i was  
in the ,pitti ,gallery1 and passing     
through the room where  the two statues 
of ,cain and ,abel are placed1 ,i saw a 
youth who was  drawing from the latter4 

,he seemed from his aspect to be a      
foreigner4 ,i  spoke to him not only to 
assure myself of this fact1 but also 7,i
  confess7 because it gave me pleasure  
to see him copying my statue1 and ,i    
wished by exchanging a few words with   
him to taste still more strongly  this  
pleasure1 which1 for the rest1 is       
excusable in a young author4            
,approaching him ,i said--    ,do you   
like this statue8    ,yes1 very much2   
and that is the reason ,i am copying it4
    ,it seems1 ,i said1 as ,i saw he did
 not recognise me1 to be a modern  work1
 does it not8    ,certainly2 so modern  
that the author is still living--though 
one might  say that he is dead4         
,what6 ,i do not understand you4 ,how   
can one say that he is dead when he  is 
living8 and ,i could scarcely restrain  
the wonder and emotion that  these      
singular words created in me4    ,it is 
indeed a very sad fact1 and is very much
 talked about2 but it  seems that the   
poor artist1 so young and full of       

talent----    ,sidenote3 ,,filippo      
,,gualterio4    ,well8 ,i interrupted   
him suddenly4    ,it seems that he is   
going mad4    ,i was silent4 ,these last
 words wounded me to the quick1 and ,i  
remembered  that during my past         
sufferings ,i too had a fear lest ,i    
should lose my  head1 but ,i never      
suspected that this idea had entered    
into the minds of  others4 ,i went out  
of the room without even saluting the   
young  foreigner1 and walked up and down
 in the open air1 going over in my      
memory my past suffering1 my voyage to  
,naples1 the cure ,i had undergone1  and
 my re-establishment in health both in  
body and spirit1 and at last ,i  became 
tranquil1 and almost smiled in recalling
 this strange  conversation with the    
young foreigner4    ,i set myself to    
work with good will1 and threw down the 
first model of  the ,bacchino dell',uva 
,malata1 which ,i had left without      
casting in order  to remake it according
 to a new conception that had come to me

 in  ,naples4 ,secure of the road ,i    
meant now to take1 convinced in my      
principles1 which in substance did not  
differ from those that had guided  me in
 my first statues1 ,i modelled with     
great rapidity the small  ,bacchus1 the 
,bacchante1 and a figure of the daughter
 of the ,marchese  ,filippo ,gualterio1 
lying dead4    ,i first made the        
acquaintance of ,filippo ,gualterio at  
,siena1 in the  house of my friend      
,count dei ,gori1 in the first          
revolutionary movement  of #ahdg4 ,he   
was a thorough gentleman1 of careful    
education1 a lover of  art1 an          
enthusiast for beauty1 a facile writer  
of the moderate party1  not then in     
favour of the unity of ,italy1 but      
attached heart and soul to  the theories
 of ,gioberti as set forth in the       
',primato4' ,out of pique1 on  account  
of some annoyance he had received from  
the ,pontifical  ,government1 of which  
he was a subject1 he exiled himself from
 his native  country1 ,orvieto1 and     

joined the revolutionary movement of    
,turin1  ,florence1 and ,genoa4 ,later  
he took a prominent part in the         
revolution of  #ahei1 embraced the cause
 of unity1 became ,minister1 and shortly
 after  died of paralysis of the brain4 
,sidenote3 ,,pietro ,,selvatico4    ,the
 statuette of the ,bacchino so much     
pleased my friend ,pietro  ,selvatico1  
who happened to be in ,florence         
precisely at the time when ,i  finished 
it1 that he made a drawing of it as a   
souvenir in his album4  ,this able      
writer and distinguished critic and     
historian of art was also  an artist and
 accomplished draughtsman1 or rather he 
was so until an  obstinate disease in   
his eyes deprived them of that clearness
 of vision  which is necessary to       
mastery as a draughtsman4               
,,chapter ,,xiv4         ,,the          
,,nude--,,the ,,statue ,,of             
,,david--,,rauch--,,the ,,base ,,of     
,,the       ,,tazza--,,the ,,chapel ,,of
 ,,the ,,madonna ,,del                  

,,soccorso--,,sepulchral                
,,monuments ,,for ,,san ,,lorenzo--,,the
 #bg,,th ,,of ,,april #ahei--;,,count   
,,scipione ,,borghesi--,a ,,group ,,of  
,,the ,,deluge--,,competition ,,for     
,,wellington',s ,,monument1 ,,and ,a    
,,great ,,help4      ,i began to work1  
as ,i have said1 upon the figure of the 
,dead ,girl1 and  upon the ,bacchante1  
two subjects diametrically opposed to   
each  other1--the ,bacchante            
representing the festivity1 the dance1  
the  libations1 and the weariness       
resulting from them2 the ,dead ,girl1   
the  innocence of a few short days of   
life1 the repose and the joy of an      
eternal peace4 ,this is a good method   
whereby to temper the expression  and   
form of one's works1 and ,i recommend it
 to young artists1 since  continually   
playing on the same string finally      
begets an annoyance and  weariness1     
which exhibit themselves in the work4   
,if the ,bacchante had  not been        
modified by this dead figure1 which     

recorded an innocent life  and a serene 
death1 it might have degenerated and    
lost that beauty which  is only to be   
found in what is good4    ,sidenote3    
,,the ,,nude4    ,one other piece of    
advice4 ,in conceiving and working out  
subjects which1  in their intention as  
well as in the manner required to       
express them1  tend towards sensuality1 
one should inspire one's self with a    
purely  intellectual love4 ,to this kind
 of love one should adhere tenaciously1 
for it is easy to go astray4 ,such love 
seizes1 and desires1 and prefers  to    
attain what is good1 in which is        
included all that is true and all  that 
is beautiful2 but the seductions of the 
senses veil the eyes of  reason and     
light the fires of voluptuousness4      
,therefore we should be  careful1 in    
order that art1 which is the mistress   
and mother of  civilisation1 should not 
lower itself to be the corrupter of     
taste and  habits4 ,it is not in the    
least in regard to nudity that we should

 be  circumspect1 but in regard to the  
conception1 the expression1 and the     
movement of the statue2 in a word1 to   
the state of mind1 the idea1 the        
interior condition of the artist4 ,thus1
 for instance1 one may look at a  figure
 entirely nude1 like the ,venus of the  
,capitol1 and be impressed  merely by a 
reverent admiration1 or by quite the    
opposite sentiment4 ,the  purest and    
most sacred subjects1 the most          
completely clothed  figures1--as1 for   
instance1 a nun1 or the ,santa ,teresa  
of ,bernini1--may  be impressed by an   
unequivocal sensuality4 ,no6 nudity does
 not offend  modesty4 ,if it did1 all   
the works of ,michael ,angelo deserve   
condemnation2 while on the contrary1 as 
every one knows 7,i appeal for  the     
truth of this to the most prudish2 to   
the priests1 to the popes1 who  ordered 
and placed in the churches the works of 
this divine man--and in  so doing did   
well1 though these figures1 both male   
and female1 are as  naked as ,god made  

them71 far from offending against       
decency in the  least1 they elevate the 
mind into regions so high and so ideal  
that  their bodies are transfigured1 so 
to speak1 and clothed with a            
supersensual light in which there is    
nothing earthly4    ,sidenote3 ,,removal
 ,,of ,,the ,,david ,,of ,,angelo4      
,about this period the question began to
 be agitated in respect to the  ,david  
of ,michael ,angelo4 ,already for some  
time artists and lovers of  works of art
 had expressed a fear that this         
masterpiece should remain  exposed to   
injury in the open air1 and thus be     
subjected to constant  deterioration4 ,a
 commission was nominated to examine    
into the matter and  prepare some manner
 of placing under shelter this          
celebrated work4  ,professor ,pasquale  
,poccianti1 president of the commission1
 proposed that  it should be removed and
 placed in the ,loggia dell',orgagna    
close by1  under the great central arch4
 ,this proposition was supported        

strongly by  ,lorenzo ,bartolini1 who   
had expressed his opinion several years 
before in  a letter addressed to ,signor
 ,giovanni ,benericetti-,talenti1 then  
,inspector of the ,academy of ,fine     
,arts1 and which ,i have seen4 ,the     
,grand  ,duke1 assured by the opinion of
 such competent artists1 ordered the    
statue to be removed and placed under   
the ,loggia1 in conformity with the     
advice of the commission1 and with the  
plans presented for this end by         
,professor ,poccianti4 ,it was the      
intention of the ,grand ,duke to        
substitute for the colossus that he     
removed a copy of it in bronze1 to  be  
cast by ,papi1 and the order was given  
for making a mould and casting  it4 ,i  
was not on the commission for the       
removal2 on the contrary1 ,i was  among 
those who did not believe in the        
injuries which the statue was  supposed 
to be suffering4 ,i did not think that  
there was any grave  danger in allowing 
it to remain where it was1 or that the  

cause that had  produced the very       
apparent injury occasioned to the head  
and the left  arm was constant dropping 
of water from the roof above2 and as    
this had  already been guarded against1 
it seemed to me inadvisable to remove it
  and withdraw it from public view4 ,i  
remembered also to have read that       
,michael ,angelo himself had strongly   
urged that it should be allowed to      
remain where he had placed it1 and where
 he1 in working at it1 had  harmonised  
it with its surroundings2 for even then 
doubts were raised  lest it might suffer
 injury in that position4 ,and besides1 
,i did not  consider it prudent to      
remove such a colossal statue1 both on  
account of  the danger of the operation1
 and because ,i thought it impossible to
 find  another place so favourable for  
artistic effect and historical          
significance4 ,therefore1 when ,i       
learned that its removal had been       
decreed1 ,i regretted it extremely4     
,information of this intention was      

given me by my friend ,luigi ,venturi1  
from whom ,i did not conceal my  regret2
 and as the ,grand ,duke was well       
disposed towards me1 ,i decided to  go  
that very evening to the ,pitti ,palace 
and humbly submit all the  arguments    
which induced me to oppose this removal 
of the ,david4 ,he  received me with his
 customary kindness1 and imagining      
perhaps that ,i  desired to speak with  
him about some work which ,i was doing  
for him on  commission 7of which ,i     
shall speak in its proper place71 he    
said--    ,sit down1 and tell me what   
you have to say4    ,sidenote3          
,,arguments ,,against ,,the ,,removal4  
,your ,imperial ,highness1 ,i have heard
 with great surprise that you  intend to
 remove the ,david from where it now    
stands1 and to place it  under the      
,loggia dell',orgagna4    ,yes2 that    
statue is1 as you know1 the masterpiece 
of ,michael ,angelo4 ,it  is suffering  
injury every day1 and it is dangerous to
 leave it there  exposed to the sun and 

the rain4 ,it ought to be placed under  
cover1 and  the ,loggia is not only so  
near as to render the operation of      
removal  easy and safe1 but it also is a
 most beautiful place1 and with its     
great  central arch will fitly frame    
this magnificent statue4    ,i          
answered--,i also always have thought   
that this statue suffers from  its      
exposure to the frost and sun--although 
the marble is from  ,fantiscritti1 and  
is of most durable quality2 and         
naturally the idea  suggests itself to  
one that it would be better to remove it
 where it  would not be subjected to    
this slow but certain deterioration4    
,but the  grave question which has      
always preoccupied my mind has been the 
difficulty of handling this colossus1 so
 weak in its supports2 and what  renders
 this all the more difficult is the     
crack which is said to have  been       
discovered in the leg upon which it     
stands1 which is the weakest4 ,i        
therefore think that if this crack      

exists1 it constitutes another and      
principal reason why the statue should  
not be touched4 ,but independent  of    
this difficulty1 which practised and    
scientific persons might  possibly      
overcome1 there is the question as to   
where it should be  placed4 ,this       
colossus is made for the open air1 and  
to be seen at great  distances2 and the 
place to which it is now proposed to    
assign it is not  in the open air1 and  
has not the light of the sky1 but on the
 contrary1  a light reflected from the  
earth1 so that only the lower part would
 be  illuminated1 and in a negative     
sense--that is1 from below upward1 and  
not from above downward1 as from the    
light of the sky4 ,the upper part  would
 in consequence remain in a half light1 
so as to divide the statue  into two    
zones3 the one which would be in the    
half light ought to be  illuminated1 and
 that which would be illuminated ought  
to be in  graduated shadow4 ,and again1 
there is no distance3 from the sides it 

is  not sufficient1 and in front the    
statue would seem too high in           
consequence of the steps of the ,loggia4
 ,nor only this3 if for the  reasons ,i 
have stated the statue itself would     
suffer1 the ,loggia would  suffer still 
more1 and would be enormously           
sacrificed1 and in  consequence of the  
colossal proportions of the statue1 its 
beautiful  arches would be dwarfed2 and 
still more----    ,enough6 the ,grand   
,duke with vexation interrupted me4     
,these are  considerations which might  
have been discussed1 but now the thing  
has  been decreed4 ,and rising1 he      
added1 ,good evening1--which being      
interpreted into common language1 was as
 much as to say1 ,go away2 you  bore me4
    ,sidenote3 ,,the ,,grand ,,duke     
,,dismisses ,,me4    ,i bowed and went  
away4 ,on the stairs ,i said to myself1 
,you have done a  pretty business4 ,you 
see how you were dismissed1 and with    
what  irritation4 ,you had better have  
minded your business4 ,what had you to  

do  with this8 ,did he ask you to give  
your advice8 ,no2 you have your         
deserts1 and will learn better another  
time4 ,and slowly1 slowly ,i  returned  
home4 ,but none the less ,i was not     
dissatisfied with myself for  having    
spoken frankly to the ,grand ,duke on   
this matter4 ,i had expressed  my true  
opinion1 and ,i should have felt more   
regret if ,i had been  silent1 inasmuch 
as ,i was thoroughly convinced of the   
utility and  propriety of what ,i had   
said4 ,besides1 ,i knew how good the    
,grand ,duke  was1 and with what        
attention he had listened to me on other
 occasions  when he interrogated me on  
questions relating to art in general1 or
 to  my own works in particular4 ,but   
the phrase decreed still hammered in  my
 head1 and ,i said to myself1 ,very     
well1--it is decreed2 but his  decree is
 not a decree of heaven4 ,we shall see4 
,after all1 ,i have said  what it seemed
 to me just to say1 and there is nothing
 improper in that2  and if there was any

 impropriety1 it was on his part in not 
allowing me  to finish4 ,and there is   
this also1 ,i said--that colossus in the
 middle  of the ,loggia will dwarf all  
the other statues1 and make them of     
little  consequence2 so that by an      
accursed necessity they will have to    
remove  the group of the ,rape of the   
,sabines1 and the ,perseus1 which stand 
very  well there1 as well as the        
,centaur and the ,ajax1 and all the     
others  along the wall1 which are not   
placed well1 whether the ,david is there
 or  not4    ,sidenote3 ,,visit ,,of    
,,rauch4    ,but in the meantime1 a     
fortunate incident gave a new direction 
to the  affair of the removal of the    
,david1 and a great weight to my words4 
,one morning a gentleman came to my     
studio1 who said he wished to see me4   
,i1 who then was accustomed to permit no
 one to pass into my private  studio1   
went out to see him4 ,he was tall of    
person1 dignified1 and  benevolent of   
aspect2 his eyes were blue1 and over his

 handsome forehead  his white hair was  
parted and carried behind the ears in   
two masses1  which fell over the collar 
of his coat4 ,he extended his hand to   
me1 and  said--    ,for some time ,i    
have heard you much spoken of2 but as   
,fame is  frequently mendacious1 in     
coming to ,florence ,i wished1 first of 
all1 to  verify by an examination of    
your works the truth of all ,i have     
heard of  you2 and as ,i find them not  
inferior to your high reputation1 ,i    
wished  to have the pleasure of shaking 
your hand2 and he then took both my     
hands in his4    ,you are an artist8 ,i 
asked4    ,yes1 he replied1--a sculptor4
    ,i wondered who he could be4 ,he    
spoke ,italian admirably1 but with a    
foreign accent4    ,excuse me1--are you 
living in ,rome8    ,oh no1 he answered2
 ,i lived there for thirty years1 but   
now for some  time ,i have been in      
,berlin4 ,i am ,rauch4    ,i bowed to   
him1 and he embraced me and kissed me1  
and accompanying me  into my private    

room1 we sat down4 ,i shall never forget
 his quiet  conversation1 which was calm
 and full of benevolence4 ,while he was 
speaking1 ,i went over in my memory the 
beautiful works of this great  ,german  
artist1--his fine monument to ,frederick
 the ,great1 his remarkable  statue of  
,victory1 and many others4 ,i recalled  
the sharp passages  between him and     
,bartolini1 and without knowing why1 ,i 
could not help  contrasting his         
gentleness with the caustic vivacity of 
our master4  ,their disagreements have  
long been over2 the peace of the tomb   
has  united them2 and now the busts of  
both stand opposite to each other in    
the drawing-room of my villa of         
,lappeggi4    ,sidenote3 ,,rauch',s     
,,visit ,,to ,,the ,,grand ,,duke4      
,among other things1 we discussed the   
question of the removal of the  ,david1 
and its proposed collocation under the  
,loggia dell',orgagna4 ,he  strongly    
disapproved of it1 and exhorted me to   
use all my influence 7to  use his own   

words7 to induce the ,grand ,duke to    
alter this decision4 ,i  then narrated  
to him my conversation with the ,grand  
,duke1 and the issue  of it4 ,he was    
surprised1 and after thinking awhile1   
said that perhaps  there was no ground  
to despair1 and that ,i ought to speak  
of it again  and to insist4 ,i          
answered--    ,i really cannot do so4   
,you1 however1 might4 ,your name1 and   
the  friendship of the ,grand ,duke for 
you1 might perform miracles2 and        
nothing else is needed1 as there is     
already a decree in the way4    ,leave  
it to me4 ,to-morrow ,i am invited to   
dine at ,court1 and ,i will  manage so  
that they will speak to me of this2 and 
unless they ask me1 ,i  will not let it 
be known that we have met4    ,a few    
days afterwards he returned and told me 
that he had spoken at  length on the    
subject with the ,grand ,duke1 who did  
not seem to be  annoyed1 but on the     
contrary1 listened to him to the end2   
and then  smiling1 said that ,i had     

advanced the same doubts and objections4
 ,he  then thought it best to openly    
confess that we had talked together on  
the subject4 ,rauch went away shortly   
after2 but he so well managed the       
affair1 that the ,grand ,duke thought no
 more of the removal of the statue  to  
the ,loggia1 considering the means      
proper to shield it from the  injuries  
of the weather4 ,he also sent for me to 
tell me that ,rauch had  advised him not
 to place it under the ,loggia1 and ,i  
remember used these  words3 ,rauch is   
entirely of your opinion in regard to   
the ,david1 and he  is a man who1 on    
such a ground1 deserves entire          
confidence2 and ,i wish  to say this to 
you1 because it ought to give you       
pleasure1 and because  it proves that   
you were right4    ,sidenote3 ,,letter  
,,from ,,rauch ,,about ,,the ,,david4   
,i thanked the ,grand ,duke for the     
attention and consideration he had paid 
to the reasoning of ,rauch in regard to 
the ,david1 as well as for his  kindness

 towards me2 and this procured me a     
dismissal more benignant  than the      
previous one4 ,a short time after1 ,i   
received a letter from  ,rauch from     
,berlin1 in which he spoke to me of the 
,david4 ,i showed it to  the ,grand     
,duke1 who ordered me to leave it with  
him4 ,but he returned it  a few days    
later1 and ,i have transcribed the      
passage relating to the  ,david3--      
,i learn with great pleasure that his   
,highness the ,grand ,duke       has    
resolved to leave the statue of ,david  
in its place in       consequence of the
 trial made with the plaster cast4 ,but 
,i       should like to recommend to his
 ,highness to remove the group of       
,ajax and ,patroclus from its present   
position1 and to arrange a       proper 
place of just proportion and with a good
 light1 to       receive worthily this  
work of sculpture divinely composed and 
executed by ,greek hands4               
,,berlin1 #agth ,december #ahed4        
,this is the reason why the statue of   

,david was allowed to remain in its     
place for some twenty years more1 and   
until the fear of the danger which  this
 masterpiece undoubtedly incurred       
induced the ,municipality and the       
,government to order its removal to the 
,academy of ,fine ,arts1 where it  now  
stands1 but where it is not seen2 for if
 the ,government is liberal  in spending
 many millions upon a ,palace of        
,finance in ,rome1 it feels  itself so  
restricted that it obstinately refuses  
to spend a few  thousands to complete   
the building which is to harbour the    
most  beautiful sculpture in the world4 
,sidenote3 ,,restoration ,,of ,,the     
,,porphyry ,,tazza4    ,it was at this  
time that the ,royal ,manufactory of    
,pietre ,dure finished  the restoration 
of the famous ,tazza of porphyry--a most
 precious and  rare object1 which1 from 
the time of ,cosimo ,i41 to whom ,pope  
,clement  ,,vii4 presented it1 had      
remained hidden in the store-rooms1 and 
in great  part mutilated4 ,now1 as ,i   

have said1 owing to the great care and  
intelligence of the directors1 united to
 the goodwill and money of the  ,prince1
 it had been restored to its pristine   
beauty and perfection4 ,in  order that  
this work1 which is also an historical  
record1 should be  properly exhibited by
 itself in the ,royal ,gallery1 the     
,grand ,duke  desired that it should be 
placed on a base with a new and rich    
design1  which should at once be a      
completion and adornment of the ,tazza  
itself1  and also offer an occasion for 
a work of sculpture4 ,in matters of this
  kind this excellent ,prince was       
intelligent1 earnestly entered into     
them1  and gave full liberty to the     
artist who wrought for him2 and this    
work  he would have carried out had not 
the revolution interrupted it4 ,but let 
us not be in a hurry4    ,i imagined a  
base of a form naturally cylindrical1   
with ovolo mouldings4  ,that from below 
the base of the ,tazza descended in a   
vertical line to  the base1 which stood 

upon a quadrate plinth4 ,between the    
base and the  ,tazza--that is to say1 on
 the first cylinder--was a complete     
history of  the ,tazza1 by means of     
symbolical figures which represented its
 origin1  fortunes1 and final           
destination4 ,perhaps this ,tazza once  
embellished  the immense gardens of the 
ancient ,pharaohs2 and when their empire
 was  overthrown by the power of ,rome1 
all things great and precious which the 
genius and power of the nation had      
produced were either destroyed or       
carried off4 ,this ,tazza1 as well as   
the famous obelisks1 were brought to    
,rome4 ,on the fall of the ,roman       
,empire1 the ,tazza and obelisks        
remained1  and the former was presented 
by ,clement ,,vii41 together with other 
precious objects 7among which was the   
,venus--so called--de' ,medici71 to     
,cosimo ,i4 ,after the ,medician        
domination was over1 the ,tazza remained
  forgotten1 until it was restored1 as  
,i have said1 and placed in the  ,pitti 

,gallery1 where it now stands4          
,sidenote3 ,,the ,,base ,,of ,,this     
,,tazza4    ,to express artistically    
this history1 ,i imagined four groups1  
representing ,thebes with the genius of 
mechanics1 ,imperial ,rome with the     
genius of conquest1 ,papal ,rome with   
the genius of religion1 and ,tuscany    
with the genius of art4 ,thebes is in a 
sad and thoughtful attitude1  with a    
simple vest without mantle1 and has on  
his head the ,egyptian  fillet4 ,he     
holds by the hand his genius1 who       
frowning and unwillingly  follows after 
him and looks backward1 recalling il    
tempo felice nella  miseria4 ,in his    
hand he carries a pair of broken        
compasses1 to denote  his lost empire   
over science and art2 and at his feet is
 a truncated  palm1 around which is     
coiled and sleeping the sacred serpent4 
,imperial  ,rome stands in a proud      
attitude1 resting her right hand on the 
consular  fasces1 and the left hand     
gathering up her mantle1 which falls to 

her  feet4 ,she is crowned with         
oak-leaves1 and above her head is a     
lion-skin  in the shape of a helmet4    
,her genius1 with a bold step and fierce
  aspect1 grasps a lance and a torch1   
implements of destruction and  emblems  
of iron and fire4 ,papal ,rome stands   
still1 with three crowns  on her head1  
from which the fillets descend upon her 
breast4 ,she is  dressed in the         
pontifical robes1 and holds closed upon 
her breast the  ,bible4 ,her genius1    
dressed in a ,levite tunic1 and with one
 hand holding  a cross and the other    
placed upon his breast1 in sign of faith
 and  humility1 treads on a serpent1 the
 symbol of error1 which even from the   
earliest time insinuated itself into the
 ,church4 ,tuscany is in the act  of    
walking4 ,on the diadem which crowns her
 head are engraved the ,tiber  and the  
,magra1 the rivers which bounded ancient
 ,etruria4 ,she holds the  royal sceptre
 in her right hand1 and in her left the 
palladium of the  arts4 ,her genius is  

crowned with laurels1 and leans upon a  
cippus1 on  which are disposed the      
implements which are used in the arts of
 poetry1  music1 sculpture1 painting1   
and architecture1 bound together by a   
branch  of olive1 to denote that the    
arts are only developed during peace4   
,sidenote3 ,,description ,,of ,,the     
,,base4    ,this conception1 which was  
clearly expressed in a sketch1 met with 
the  approbation of the sovereign1 and  
he ordered me to model it on a large    
scale1 to be cast in bronze4            
,afterwards1 it seeming to me that the  
dark  hue of bronze1 added to the shadow
 cast by the ,tazza itself1 would       
injure the effect of my work1 ,i sought 
and obtained permission to  execute it  
in marble2 and ,i was at once paid for  
my model4 ,in the  meantime1 in         
consequence of rich work of great       
delicacy1 it became  necessary to seek  
for some marble which should be hard1   
white1 and  beautiful2 for this work    
differed from others in having no back  

view1 in  which ordinarily the          
imperfections of the marble can be      
hidden1 but was  exposed on all sides1  
in consequence of its round form1 every 
point of  view being a principal one4   
,hence there was a difficulty in finding
 a  block entirely free from blemish1   
and having no spots to injure the  view 
of any important part4 ,the search for  
this consumed much time2 and  when at   
last ,i had a clear hope that ,i had    
found it1 the revolution  first         
suspended1 and afterwards ended1        
everything4 ,i shall return to  this    
subject later1 and at present ,i shall  
go on4    ,sidenote3 ,,chapel ,,of ,,the
 ,,madonna ,,del ,,soccorso4    ,at the 
same time the ,grand ,duke ordered me to
 decorate a chapel of the  ,madonna del 
,soccorso at ,leghorn4 ,of this1 which  
is the first on the left  on entering   
the church1 he had become the patron4   
,the chapel was to  represent the entire
 life of the ,madonna4 ,i made a large  
sketch1 in  relief1 of the chapel and   

the ornaments of the altar1 with statues
 and  pictures on the side walls4 ,in   
the great lunette over the altar1 ,i    
designed and coloured the ,annunciation 
of the ,virgin4 ,in the empty  spaces   
between the arc of the lunette and the  
side walls1 which are  trapezic like    
half pedestals1 were angels painted upon
 a mosaic ground  of gold1 and holding  
spread out rolls of papyrus1 on which   
were written  the prophecies of the     
,virgin and of ,christ4 ,the altars ,i  
made with  columns and round arches1    
with a straight base1 after the style of
 the  ,quattrocentisti4 ,the table of   
the altar represented the return from   
,calvary of the ,virgin with ,st ,john4 
,behind1 in the distance1 were seen  the
 crosses1 and the angels of the ,passion
 weeping and flying from the  sorrowful 
scene4 ,this also ,i designed and       
coloured in my sketch4 ,under  the      
table1 and through a perforated screen1 
was seen the dead body of  ,christ1     
illuminated by hidden lights4 ,the      

statues in the niches of the  lateral   
walls were to be ,st ,john and ,st      
,luke1 as those who had specially       
written about the ,virgin4 ,in the two  
lateral walls above the niches1  there  
were to be two pictures representing the
 ,nativity and the ,death2  and these   
compositions1 as well as the sketches of
 the two statues of  ,john and ,luke1 ,i
 did not carry out1 relying upon the    
intelligence of  the ,grand ,duke1 which
 would enable him to judge from what ,i 
did do4    ,sidenote3 ,,works ,,ordered 
,,by ,,the ,,grand ,,duke4    ,besides  
this complex and important work--the    
,scriptural portion of which  ,i was to 
execute1 while in regard to the         
paintings and architecture1 ,i  was     
assigned the post of director1 with an  
authority to select the                 
artists1--besides this1 ,i say1 he      
ordered of me the monuments to the      
,grand ,duke ,ferdinand ,,iii4 his      
father1 to his brother1 his sister1 and 
various of his children1 all to be      

erected in the chapel called the        
,vergine ,ben ,tornata1 which is in ,san
 ,lorenzo1 where at present is to  be   
seen the monument of the ,grand ,duchess
 ,maria ,carolina4 ,and all these       
monuments ,i designed1 and made sketches
 of them1 which were approved by  his   
,highness2 and a royal rescript was made
 to me1 signed by the  ,president of the
 ,ministry1 ,prince ,andrea ,corsini1   
ordering me to execute  these works4    
,but the #bgth of ,april #ahei1 foreseen
 by all1 unexpected by  few1 arrived and
 overthrew everything4    ,from all     
these statements1 two facts are clear2  
the first1 that the  ,grand ,duke       
esteemed me--and the second1 that ,i    
knew absolutely nothing  of the         
revolutionary movement of these days3   
and this increased the not  small number
 of persons1 who held me in dislike1    
owing to the favour  which ,i enjoyed at
 ,court1 and owing to the works which   
were intrusted to  me4 ,these persons1  
whom ,i must not call artists1 showed   

themselves1 both  then and after1 to be 
sorely deficient in intellect and heart1
 in  blaming me for my affection and    
gratitude towards the ,prince1 who      
treated me so beneficently4    ,i have  
said that the events of the #bgth of    
,april were quite unexpected  by me4    
,but how was it possible for me to know 
anything1 when those who1  above all1   
were so intimately acquainted with what 
was going on1 kept  me at a distance1   
and some1 as for instance the ,marquis  
,gualterio1 who  usually frequented my  
studio1 withdrew entirely from me8      
,besides1 how  many there were who were 
as much in the dark as ,i1 though they  
were in a  position that almost obliged 
them not to be ignorant6 ,i remember    
that  the ,sardinian ,minister1         
,buoncompagni1 who lived in the         
,pennetti ,palace  in ,borgo ,pinti1    
gave every week 7,i do not remember on  
what day7 a  reception or party at which
 ,i met and conversed1 with the utmost  
frankness1 with the ,advocate ,vincenzo 

,salvagnoli1 ,giovanni ,baldasseroni1   
then ,minister1 the ,marquis ,lajatico1 
the ,marchioness ,ginori1 as well as    
the ,princess ,conti and others1 and all
 of us were ignorant4    ,sidenote3     
,,demonstration ,,against ,,grand       
,,duke4    ,it was only on ,easter      
morning 7,i believe it was the          
antivigilia of the  revolution7 that ,i 
heard that something was to occur1 but  
vaguely2 there  was nothing positive or 
precise4 ,there was to be some sort of  
demonstration or manifestation to induce
 the ,grand ,duke to enter into a       
league with ,piedmont for the war of    
independence4 ,but afterwards1          
reassured by one who ought to have known
 more than ,i1 that it was really       
nothing1 but mere idle talk1 and        
childish vague reports1 ,i believed him4
  ,and then8 ,the day after1 ,i met     
,count ,scipione ,borghesi1 my excellent
  friend1 who1 as soon as he saw me1    
said--    ,well1 ,i have just arrived   
from ,siena2 and to what point have we  

come8    ,about what8 ,i answered4      
,about our request--about our           
demonstration1 which is already         
organised4  ,it should take place       
to-day4 ,what6 you know nothing about   
it8    ,i know nothing--and there is    
nothing to know2 trust me1 for ,i ought 
to  know something about it1 ,i         
answered1 assuming rather an air of     
authority4    ,my friend was a little   
disturbed at first2 and then smiling1 he
 added--    ,it may be as you say4 ,have
 you any commands for ,siena8    ,no1   
thank you4 ,are you going back to ,siena
 soon8    ,eh8 ,who                     
knows8--to-morrow--the day after        
to-morrow--as may be4    ,good-bye1     
then1 ,i said1 and we shook hands4      
,sidenote3 ,,popular ,,demonstration4   
,the next morning1 from my little villa 
which ,i had rented at the ,pian di     
,giullari1 ,i went down to ,florence1   
taking my usual route1 at about         
half-past eight1 when ,i saw a gathering
 of people1 and groups here and  there  

crowded together and talking excitedly4 
,i then began to suspect  something4 ,i 
went to my studio1 uncovered my clay1   
and waited for the  model1 who should   
have been there4 ,she kept me waiting   
for an hour2 and  before ,i could       
reprove her for her unpunctuality1 she  
told me that she  had been detained by  
the great crowd of the demonstration    
which blocked  up all the streets around
 ,barbano1 and that the ,piazza was     
thronged with  people carrying banners  
and emblems4 ,bravo6 ,i said to myself1 
,i did  know a good deal6 ,at the same  
time1 an under-officer and instructor of
  the ,lyceum ,ferdinando1 who lived    
over me1 came to the window and cried   
out ,viva ,italia6 and his pupils       
repeated his cry with enthusiasm4 ,do   
you know what this means8 ,i asked of my
 model1 who was already  undressed4 ,i  
cannot work now2 dress yourself1 and go4
 ,she at once  obeyed1 and ,i remained  
thinking over the fact4 ,i desired that 
the ,grand  ,duke should yield1 as in   

fact he did yield1 to the ,league with  
,piedmont  for the war against the      
foreigner2 and ,i was grieved when ,i   
heard of his  departure4 ,on returning  
to the country1 ,i met my friend the    
advocate  ,mantellini with ,duchoqu1 and
 we were all very sorry for what had    
occurred1 although ,i had nothing to do 
with the events which took place  either
 before or on that day4    ,sidenote3   
,,sketch ,,for ,,monument ,,to          
,,wellington4    ,the desire to give an 
account of this day has kept me for some
 time from  the regular order of my     
records1 and ,i must now return upon my 
steps4  ,when ,i had completed the model
 for the base of the ,tazza1 a desire   
came  over me to model a group of       
colossal dimensions4 ,i had selected as 
subject the universal ,deluge1 and with 
youthful ardour ,i had sketched  out the
 whole1 and had fairly well modelled    
some of the parts4 ,but as at  that time
 the ,english ,parliament had decided to
 erect an imposing  monument to the     

,duke of ,wellington1 and to that end   
had opened a  world-competition1 ,i     
stopped working on my group1 and set    
myself to  think out the monument to    
,wellington4 ,i had1 however1 little    
wish to  compete1 because it seemed to  
me that the work would finally be       
intrusted to an ,english sculptor1 and  
that love of country would  naturally   
overcome that rectitude of judgment     
which is so deeply seated  in the spirit
 of that great nation4 ,and so it       
happened that ,i had1 as ,i  have said1 
little desire to compete2 and besides1  
,i have always been  opposed to         
competitions1 and ,i shall explain my   
reasons for this  elsewhere4 ,but my    
friends at first began by proposing it  
to me1 then  said so much1 and urged the
 matter with such insistence1 that      
finally ,i  yielded and competed4 ,this 
work of mine ,i cannot exactly describe1
  because1 not having seen it for many  
years1 ,i scarcely remember it4 ,let  me
 try1 however4 ,in the angles of the    

great embasements were groups           
representing ,military ,science1        
,political ,science1 ,temperance1 and   
,fortitude1 each with his ,genius4 ,the 
four faces of the base were  ornamented 
with alti-rilievi4 ,sidenote3 ,,the     
,,grand ,,duke ,,sends ,,me ,,to        
,,london4    ,above this rose upon      
another base the principal group of     
,wellington with  ,victory and ,peace4  
,there was a large contribution of      
,florentine  sculpture sent to ,london1 
for ,fedi1 ,cambi1 and ,cartei competed 
as well1  and their models were         
exhibited before going to ,england4 ,the
 sending of  these models was not       
without risk1 owing to their            
fragility--being in  plaster--the       
minuteness of the work upon them1 and   
the length of the  journey4 ,all these  
difficulties did not escape the         
attention of our  benevolent sovereign1 
who had seen my model2 and as soon as ,i
 had sent  it off1 he told me he thought
 it both prudent and even necessary for 

me  to go to ,london to attend to my    
work and see it taken out of its box4 ,i
  answered that ,i had no fear of its   
being injured1 having had it so well    
packed1 and depending on the ,government
 officials who were intrusted to        
receive and see to the placing of these 
competitive works4 ,these were  the     
reasons ,i gave2 but there were others  
of a more intimate and  delicate nature1
 for out of respect for the other       
competitors ,i did not  wish to appear  
as if ,i went to push forward my own    
work4 ,on his ,highness  urging me more 
and more1 ,i told him all my thoughts1  
and he replied1  with a smile1 ,if it is
 on account of this1 you can go at once1
 for ,fedi  came to take leave of me    
yesterday2 and to facilitate your       
journey1 ,i  shall give you a hundred   
zecchini4 ,i could give you a letter for
 ,king  ,leopold of the ,belgians1 my   
good friend1 but that would be like a   
recommendation1 so ,i shall abstain from
 doing so4 ,go and make haste1 for  if  

your work should be damaged on its      
arrival1 who is there who could  mend   
it8 ,therefore go2 and good-bye4        
,,chapter ,,xv4         ,,patience ,a   
,,most ,,essential ,,virtue--,,trust    
,,was ,a ,,good ,,man1 ,,but            
,,trust-,,no-,,one ,a ,,better--,a      
,,competition ,,either ,,attracts ,,or  
,,drives       ,,away ,,men ,,of        
,,talent--,a ,,study ,,from ,,life ,,of 
,a ,,lion ,,by                          
,,marrocchetti--,,assistant             
,,modellers--,,sydenham ,,and ,,its     
,,wonders--,,one ,,of ,,abel',s         
,,fingers--,,new ,,judgment ,,of        
,,solomon--,,an       ,,important       
,,question--,,an ,,indian ,,who ,,speaks
 ,,about ,,things ,,as ,,they           
,,are--,,professor ,,papi ,,and ,,the   
,,failure ,,of ,,the ,,first ,,cast ,,in
 ,,bronze       ,,of ,,the ,,abel--,a   
,,medicine ,,not ,,sold ,,by ,,the      
,,chemist4      ,i started at once1 and 
it was well that ,i did so1 for the     
vessel which  had the case containing my

 model sprang a leak on account of the  
bad  weather1 had to stop at ,malta1 and
 arrived in ,london too late1 as the    
term had expired for the presentation of
 these models4 ,if it had not  been for 
my having the bill of lading1--from     
which it was made clear  that ,i had not
 only sent it in time1 but a long time  
before ,i was  required1 and that this  
delay had occurred from circumstances   
entirely  independent of my will1--my   
work would have been undoubtedly        
rejected4  ,for this reason1 and through
 the good offices of ,william ,spence1  
it was  accepted2 and he made me        
acquainted with the royal commissioner  
of the  exhibition as the person        
intrusted by the author of the work4    
,when they  proceeded to open the case  
the commissioner wished me to be        
present1  that ,i might see in what     
state it had arrived--and it was a truly
  lamentable state6 ,the ship1 as ,i    
have already said1 sprang a leak1 and   
the water had entered the case and      

softened the plaster figures1 so that   
they were dislodged from their places1  
and rolled about in the box in  all     
directions4 ,heads were detached from   
their bodies1 hands mutilated  and      
broken1 aquiline noses flattened out1   
the helmets had lost their  plumes and  
front pieces4 ,in fact1 it was all a    
perfect hash6 ,besides  this1 as ,i had 
wrapped them up in cotton-wool and      
paper1 and the salt  water had          
penetrated and remained there for many  
days1 they had gone  through a sort of  
special chemical process1 by which my   
sketch was  coloured in the most varied 
and capricious way4 ,blue1 red1 and     
yellow  were mixed up together with the 
most lively pleasantry2 and if it had   
been done on purpose1 one could not have
 reduced the poor work to a more        
wretched condition4 ,i saw at once that 
,i needed all the sang froid  possible1 
so ,i did not utter a word1 and         
ostentatiously showed a calm  exterior  
that ,i did not really feel1--all the   

more because already the  greater part  
of the models had been put in their     
places1 and the  exhibition and judgment
 on them were imminent4 ,fedi1 who was  
present at  this disaster1 seeing me so 
cold1 said to me1 almost in a rage1 ,why
  don't you get angry8    ,sidenote3    
,,my ,,sketch ,,arrives ,,broken ,,to   
,,pieces4    ,why should ,i get angry8  
,i answered4 ,shall ,i mend the matter  
by  getting angry8 ,on the contrary1 see
 how well ,i shall manage1 in a slow    
and orderly way4 ,i remember to have    
read somewhere--,i don't recollect      
where--that he who has to go up a steep 
ascent must take it slowly2 and  so     
shall ,i4    ,he was of the contrary    
opinion1 and advised me rather to leave 
everything alone for the moment1 to take
 a pleasant walk1 and to set  myself to 
work the next day with a fresh mind2 and
 he himself1 with  praiseworthy         
thoughtfulness1 offered to help me4 ,but
 ,i held to my  purpose1 thanking him   
for his advice and offer to help me1 as 

,i felt  confident that ,i should be    
able to do it all by myself4 ,i then at 
once  informed the commissioner for the 
exhibition that1 as ,i was empowered by 
the author of the sketch1 and was in his
 entire confidence1 ,i intended         
immediately to set to work and restore  
it4 ,as this gentleman  commissioner    
understood not a word of ,french or     
,italian1 ,william ,spence1  then a     
young man1 was my interpreter4 ,when he 
understood what it was ,i  wanted1 he   
called a gentleman who was looking at   
the models for  competition1 and spoke  
to him in a low voice in his own        
language2 but my  young mentor1 who1    
besides his intelligence1 had a fine    
sense of  hearing1 taking me aside1 told
 me what orders the commissioner had    
given  this gentleman4    ,sidenote3    
,,reparation ,,of ,,the ,,sketch4    ,it
 should be known that the ,english      
,government1 among the articles         
regulating this competition1 had made   
one which was most wise1 as it          

partially guaranteed the artist who had 
not been able to accompany his  sketch  
in person1 and had no correspondents or 
friends who could act for  him1 to      
repair any chance damages to his work4  
,for this they had  appointed an able   
artist capable of making the required   
restorations4  ,this1 then1 was what    
,spence told me3 ,the commissioner1 as  
you see1  called that gentleman to tell 
him to pay attention to what you are    
doing  to this model1 for although you  
have asserted yourself to be the person 
intrusted by the author of the work1 yet
 he has not felt sure of it2 and  as you
 might also be a person who1 with bad   
intentions1 propose to  damage it under 
pretence of restoring it1 it was his    
duty to prevent  this1--so he gave      
orders to that gentleman1 in case he saw
 that your  hand was guided by bad faith
 or incompetency1 to make you leave off 
at  once1 and to set himself instead to 
work on it4    ,sidenote3 ,,signor      
,,brucciani',s ,,friendliness4    ,i    

understand ,i must give all my attention
 and mind to the manner in  which ,i do 
my work1 though ,i should have acted    
more freely had ,i not  been exposed to 
a supervision as reasonable as it was   
conscientious4 ,the  consequence of a   
mistake or an oversight might be to see 
myself set  aside as an ass1 or even    
worse1 as an impostor1 and the heads and
 hands  of my little figure mended by   
another1 ,heaven knows how6    ,in the  
meantime1 the sculptor or modeller who  
was to watch me never lost  sight of me1
 and being sure that ,i knew nothing of 
his charge1 observed  every movement of 
mine2 but after ,i had been at work     
about ten minutes  he was completely    
convinced1 and declared that ,i could be
 allowed to  continue the               
restorations--meno male6 ,plaster       
brushes1 small knives1  sharp tools1 and
 all other implements1 had been largely 
furnished to me  by ,signor ,brucciani1 
a most able caster1 and the proprietor  
of a large  shop1 or rather a gallery of

 plaster statues1 able to supply any    
school  of design1 and what my friend   
,giambattista ,giuliani would have      
called a  perfect gipsoteca4    ,and    
with regard to good ,signor ,brucciani1 
,i must say some words in his  praise1  
not only because he provided me         
liberally with plaster and  tools1 and  
help in my work1 but because he1 a      
stranger in a foreign  land1 has known  
how1 with his activity1 to acquire for  
himself the  esteem of a people who are 
as tardy in conceding it as they are    
tenacious in keeping to it when once    
given4 ,from this he derives his  good  
fortune and enviable position4    ,when 
,signor ,brucciani fell in with an      
active and open-hearted  compatriot1 it 
brightened him up soul and body1 and he 
often wished to  have me with him4 ,his 
wife and daughter united a certain      
,english  stiffness with ,italian brio  
and frankness that they took from their 
husband and father4 ,one day ,brucciani 
and his family desired to spend  the day

 in the country and dine in ,richmond   
,park4 ,everything ,brucciani  did he   
did well2 and ,i hope he is alive and   
able to do so still4 ,he  brought with  
him several carriages1 with everything  
that was required  for the cuisine and  
table--furniture1 servants1 food1 and   
exquisite  wines1 even ice in which to  
keep the ices1 c4 ,a viva to him6 for as
  the ,marchese ,colombi said1 ,things  
can be done or not done4 ,after  dinner 
a caravan of gipsies1 perfect witches1  
who live in that forest1  made their    
appearance1 and asked if we wanted our  
fortunes told4 ,the  request was odd    
enough2 but being made in such a serious
 manner1 it  became really amusing4     
,naturally1 as we had to give something 
to these  poor gipsies not to humiliate 
them1 we had our fortunes told2 and as  
for  the old woman that examined my     
hand1 she guessed so much that was true 
that ,i was almost frightened1 and drew 
away my hand4 ,the old witch  continued 
to point with her bony finger1 and say1 

,there is still more1  still more4      
,sidenote3 ,,the ,,sketch ,,is          
,,restored4    ,my work was rather long1
 and would have been tiresome2 but as it
 was a  necessity1 ,i did it willingly1 
and succeeded very well4 ,it is true1   
however1 that both the architecture and 
the figures were strangely  spotted with
 stains made by the salt water1 and bits
 of paper and  cotton-wool in which it  
had been packed4 ,some one advised me to
 give it  all a uniform tint to hide    
this2 but ,i insisted on leaving it in  
that  way1 trusting to the good sense of
 the judges1 who were called upon to    
consider much worse defects than those  
produced by a chance accident4 ,i       
remember that ,mr ,stirling ,crawford1  
of ,london1 on receiving some years     
before the two statues of ,innocence and
 the ,fisherman1 and a stain  having    
made its appearance on the leg of one of
 these1 wrote to me  manifesting his    
entire satisfaction with these works1   
and adding3 ,it  is true that here and  

there there are some stains in the      
marble2 but as  ,i know that you do not 
make the marble yourself1 it would be   
absurd to  reprove you for this4 ,there 
are but few gentlemen like him1         
however--so  few1 that ,i have never    
found another2 but on the contrary1 ,i  
have seen  more than one who would even 
buy a mediocre statue1 to use no harsher
  expression1 provided it were made out 
of beautiful marble4    ,sidenote3      
,,marrocchetti',s ,,views ,,of          
,,competition4    ,i remained in ,london
 about two months1 and left the day     
before the  opening of the competitive  
exhibition4 ,the judgment was to be     
pronounced  after the public exhibition 
was over2 and there were a great many   
competing--nearly a hundred--and some of
 the models were very beautiful4  ,there
 were to be nine prizes given--three    
first class and six second4  ,the       
,government reserved to itself the power
 of giving the final  commission without
 regard to the models that had received 

prizes1 as it  might so happen that when
 the name of the sculptor who drew the  
first  prize was known1 he might not be 
able to offer sufficient warrant as to  
the final execution of the work as to   
tranquillise the consciences of  the    
judges and satisfy public opinion4 ,this
 argument is a just one when  not       
vitiated by preconceived opinions or    
self-love1 which sometimes  happens1 as 
we shall see hereafter4    ,this was in 
itself a thing easily understood1 but   
was not understood by  us1 who went in  
for this competition4 ,not so           
,marrocchetti1 who1 clever  artist that 
he was1 was none the less wide awake and
 wise4 ,with those  who instigated him  
to compete he reasoned in this way1     
saying3 ,they  know that ,i am capable  
of doing this work4 ,why1 therefore1    
enter into  competition with others1 if 
not to find out that there is some one  
else  cleverer than ,i am8 ,very well2  
but ,i choose to retire1 and you can    
take  the other fellow--take him and    

leave me in peace4 ,so far this would   
seem prompted by nothing but the fear of
 losing1 which in itself is no  small   
thing for a man who has a name and has  
gone through his long  career applauded 
by all4 ,but there is another and a much
 more piercing  and almost insufferable 
dread4 ,do you know what it is8 ,that of
 winning4  ,yes1 that of coming in      
victor before a poor young fellow1      
perhaps one of  your own scholars6 ,thus
 he gave vent to his feelings one day to
 me1  with the sort of intimacy that    
springs to life quickly and vigorously  
between artists who are neither         
hypocrites nor asses2 and his words     
depict in a lifelike manner the frank1  
and1 ,i might say1 bold character  of   
this original artist1 who was most      
dashing1 and who1 with a thorough       
knowledge of dramatic effects in art1   
from the very exuberance  of his        
strength1 not seldom had the defects    
produced by these  qualities--defects   
which were perhaps magnified by his     

assistant  modellers1 who worked with   
too much rapidity and carelessness4     
,sidenote3 ,,marrocchetti4    ,when he  
saw the photograph of my model he       
desired to have it1 and ,i was          
delighted to give it to him4 ,he wished 
me to choose something of his as  a     
remembrance1 and ,i did not need to be  
urged4 ,i had set my eyes on a  most    
beautiful study of a lion from life in  
dry clay1 and so ,i asked him  for that2
 but as that was a thing precious to    
him1 he asked me if ,i  would not       
content myself with a cast of it in     
bronze instead of the  clay4 ,on my     
answering that ,i would1 he called his  
caster1 who worked for  him in his own  
great foundry1 and ordered it to be cast
 at once4 ,two  days after this ,i      
received it1 and keep it as the dear    
remembrance of an  excellent friend1 and
 as a valuable work of art4    ,at that 
time ,marrocchetti had finished his     
great equestrian statue of  ,richard the
 ,lion-hearted4 ,it is a singular thing 

that ,marrocchetti1 in  his long and    
glorious life1 made four equestrian     
statues--,emanuele  ,filiberto1 the     
,duke of ,orleans1 ,carlo ,alberto1 and 
,richard the  ,lion-hearted4 ,each one  
of these statues bears a different      
stamp1 both as  regards composition1    
feeling1 and mode of treatment2 one     
would say that  they were the work of   
four different artists4 ,this difference
 of work  can be reasonably explained by
 the diversity of the subjects and the  
distance of time that occurred between  
each work1 necessarily producing        
notable changes in the mind and style of
 the artist2 and also because           
,marrocchetti1 on account of the        
multiplicity of serious work he had in  
hand1 thought it advisable to have help1
 not only in the marble work1  but also 
on his clay models2 and as those who    
helped him were not always  of his      
school1 so every one brought just so    
much of their own  individuality to bear
 upon the work as to alter the master's 

character  and style4 ,these are the sad
 but inevitable results for him who has 
the  bad habit of getting assistance    
with his clay models4    ,sidenote3     
,,marrocchetti ,,and ,,his ,,assistants4
    ,while ,i was there in #ahef he had 
under his directions a very able        
modeller--,i think he was a ,roman1 by  
name ,bezzi4 ,bezzi went on  modelling1 
and ,marrocchetti directed his work1    
whilst he sat smoking and  talking with 
me and others4 ,sometimes he would make 
him pull down a  piece he had been at   
work on and begin afresh4 ,this method  
seemed to me  then1 as it does now1 a   
most strange and dangerous one2 and it  
has not  resulted happily1 even amongst 
us1 with those who have been induced to 
follow it4    ,marrocchetti was         
distinguished from other sculptors by   
another  originality--,i was almost     
going to say oddity--and this was1 that 
he  coloured his statues often to such a
 degree that you could no longer        
distinguish the material of which they  

were made4 ,i remember to have  seen an 
imposing monument composed of several   
figures that had been put  up in honour 
of ,madame de la ,riboisire in the      
chapel belonging to the  hospital which 
bears that name in ,paris4 ,it is       
completely coloured--,i  should better  
say painted all over--with body         
colour1--the heads1 hair1  eyes1        
draperies1 all coloured so that it is   
impossible to distinguish  the material 
in which it was sculptured4 ,you could  
distinguish  absolutely nothing2 and if 
it had not been for the custode1 who    
affirmed that the work was in marble1   
you might have thought it was  coloured 
plaster or terra cotta4 ,and this worthy
 man was so sure of  having thus added  
beauty to his statues that he was much  
astonished that  others did not imitate 
him4    ,sidenote3 ,,the ,,colouring    
,,of ,,statues4    ,marrocchetti1 there 
is no doubt1 was wrong in loading on    
colour as he  did2 but it is a question 
not yet solved or to be lightly put     

aside as  to whether a delicate veil of 
colour may not be tried on the fleshy   
parts4 ,grecian sculptors used colour1  
and ours also in the middle ages1       
although only on particular parts of the
 figure and on the ornamental  portions 
of their monuments4 ,the only one that  
,i know of1 amongst modern  artists1 who
 used colour with discretion1 was       
,pradier4 ,the ,english  sculptor       
,gibson was more audacious4 ,i have seen
 a ,cupid by ,gibson  entirely          
coloured--the hair golden1 the eyes     
blue1 his quiver chiselled  and gilt1   
and1 incredible as it may seem1 the     
wings painted in various  colours with  
tufts or masses of red1 green1 blue1 and
 orange feathers1  like those of an     
,arara parrot4    ,sidenote3 ,,the      
,,crystal ,,palace4    ,having seen the 
,kensington ,museum1 and the other      
sculpture and picture  galleries in     
which ,london is so rich1 ,i take       
pleasure in recounting a  little        
occurrence that happened to me at       

,sydenham4 ,sydenham is a place  some   
fifteen miles from ,london1 in an open  
country1 healthy1 and rich  in green    
vegetation4 ,there is the famous        
,crystal ,palace1 where one can  see a  
permanent exhibition of all the most    
beautiful things that are  scattered    
about in different parts of the world1  
beginning with  ante-diluvian animals   
reconstructed scientifically from some  
fossil  bones found in the excavations  
of mines in ,scotland and elsewhere4    
,there  are gigantic trees from         
,australia1 one of which1 having been   
cut in  pieces1 bored1 and the centre   
extracted1 to enable it to be           
transported1  had been put together     
again and planted inside this palace4   
,it is as  high as a veritable          
campanile2 at its base a door has been  
made1 so that  one can enter inside it2 
and it holds comfortably some thirty    
persons4  ,all the tropical plants are  
there in fine vegetation1 in            
conservatories  heated by stoves1 where 

the heat is so oppressive that one longs
 to go  out and breathe the fresh       
outside air4 ,there also can be seen    
that  famous plant that grows in the    
water1 with its flower floating on the  
surface4 ,this gigantic flower1 when ,i 
then saw it1 measured not less  than two
 metres in diameter1 and the leaves     
flattened out on the water  looked like 
open umbrellas4 ,it seems really as if  
one were dreaming1 to  see such gigantic
 vegetation4 ,besides plants and animals
 from all parts  of the earth--from the 
polar as well as from the tropical      
regions--there  are the full-sized      
models of men taken from life1 and      
coloured according  to nature--,cretins1
 ,esquimaux1 savages1 ,tartars1         
,mongols1 and  anthropophagi1 all in    
most natural attitudes1 and in their    
various  costumes4 ,there are also      
full-size reproductions of pieces of    
,egyptian1  ,indian1 ,assyrian1         
,mongolian1 and ,moorish architecture2  
parts of the  ,alhambra ,palace2 some   

rooms from ,pompeii2 minarets and       
,chinese temples2  sculpture 7,i mean1  
be it understood1 reproductions in      
plaster7 of the  best ,egyptian1        
,indian1 ,greek1 and ,roman works1 as   
well as those of the  middle ages2      
,ghiberti's doors2 the equestrian       
statues of ,colleoni1 of  ,gattamelata1 
of ,marcus ,aurelius2 and even some     
modern works1 amongst  which is my      
,abel4    ,sidenote3 ,i ,,break ,,off   
,,the ,,finger ,,of ,,abel4    ,i knew  
that this statue of mine must be there1 
for ,i had it cast by  ,papi1 who had   
the mould ever since he cast it in      
bronze2 and when ,i saw  it amongst     
these masterpieces as a specimen of     
modern art1 ,i felt a  certain feeling  
of complacency that ,i hope will be     
forgiven me4 ,but this  complacency of  
mine was disturbed when ,i saw that one 
of the fingers of  the left hand had    
been badly restored1 not merely formed  
inelegantly1  but actually distorted1 as
 the last phalange was much too short4  

,that  little stump of a finger so      
irritated me1 that ,i gave it a blow    
with the  stick ,i had in my hand1 and  
it fell on the ground4 ,ill-luck would  
have  it that one of the guards saw me1 
and seizing hold of me1 he carried me   
off to the commissary of the exhibition4
 ,i was asked why ,i had damaged  that  
statue2 and ,i answered that the finger 
was badly made1 and that ,i  had broken 
it off by an involuntary movement4 ,they
 replied that ,i could  not judge       
whether that finger or anything else was
 well done or badly  done1 and in any   
case it was not permitted for persons to
 damage the  objects exhibited there2   
that therefore1 for this violation of   
the  rules1 ,i had incurred the penalty 
decreed in such and such an article1    
and that they intended to keep me in    
custody4 ,to tell the truth1 this       
,signor ,commissary spoke ,french rather
 badly2 but ,i understood him very      
well1 and with the best grace possible  
begged to be forgiven1 saying  that the 

wish to damage the statue had never     
entered into my thoughts1  that the     
finger ,i had broken was positively     
ugly1 that it must be remade  as it     
ought to be1 and that1 as to having it  
restored1 ,i would myself  bear the     
expense4 ,but the commissioner was firm1
 and was about to  consign me to a      
guard1 who was to conduct me not exactly
 to prison1 but  to something of that   
kind4 ,i then felt obliged to make my   
name known4 ,at  first he had no        
intention of yielding to my explanation1
 and there was  an expression on his    
face that might be translated thus3 ,it 
seems to me  strange2 it cannot be2 ,i  
don't believe it4 ,then he went on to   
say1  ,your position as author did not  
give you the right to do what you have  
done1 even admitting that what you      
affirm is true--and we shall soon see   
if it be really true 7tout de suite74   
,you are the author of that  statue2    
then remake the finger that you have    
broken4 ,i was completely  taken aback  

by this new judgment of ,solomon1 so    
simple and just4 ,calling  to my aid a  
young modeller who was employed there1  
working a little and  directing a       
little1 the finger was soon remade4 ,and
 so this odd  adventure came to an end1 
proving the justice of the proverb1 ,who
  breaks1 pays4    ,sidenote3 ,,dinner  
,,given ,,by ,,industrial ,,society4    
,i returned to ,sydenham several times1 
because the quantity and  importance of 
the things to be seen required time and 
attention2 but  when ,i found myself    
near my own statue1 ,i gave it a wide   
berth4    ,one day ,i found myself1 or  
rather ,i should say ,i was taken by    
,william  ,spence1 to a great dinner    
given by the ,artistic and ,industrial  
,society  in the dining-hall of the     
great ,palace of the ,exhibition4 ,we   
were no  less than four hundred1 and    
,lord ,derby presided4 ,about the end of
 the  dinner the toasts began1 with     
speeches of which naturally ,i          
understood  not a word2 but fortunately 

,mino translated them to me in a few    
brief  words4 ,at last an ,indian       
officer of the ,english army arose with 
a face  the colour of copper1 and began 
to speak2 but after the first words1    
here and there in that immense hall1    
first in undertones1 and then  louder   
and louder1 there arose a confused noise
 of voices of  disapprobation4 ,i       
understood nothing1 and begged ,mino to 
explain2 and  he replied that ,i must   
keep quiet1 and he would afterwards     
explain  everything4 ,in the meantime   
the noise of disapprobation increased1  
and  some loud words were repeated4 ,the
 orator's voice could hardly be heard   
any more1 but he was not disturbed1 and 
waited until the tempest was a  little  
calmed down before continuing4 ,then ,i 
heard a word repeated  louder and       
louder1 which ,mino explained to me was 
,enough4 ,the only  one who remained    
cold1 passive1 and silent was the       
president2 and when  the speaker saw    
that it was an impossibility to make    

himself heard1 he  bowed and sat down4  
,after a little while every one rose    
from table4    ,sidenote3 ,,an          
,,exciting ,,speech ,,on ,,india4       
,now1 then1 relieve my curiosity4 ,what 
has that officer said of so             
extraordinary a nature as to compel him 
to silence in a country like  this1     
where really such entire liberty        
prevails8    ,what he has said1 replied 
,mino1 he could have said and repeated  
most freely2 but he was badly inspired1 
and had the imprudence to name  the     
,queen4 ,now amongst us the ,queen1     
whatever may be the question1 is  never 
mentioned4 ,the law--and more than the  
law1 respect for her  person--prohibits 
us from naming her4 ,the officer who    
spoke is a colonel  in our ,indian army1
 and is1 as you can see by the colour of
 his face1 an  ,indian4 ,he only arrived
 a few days ago on a mission1 they say1 
of some  importance4 ,now this is what  
he has said3 ,the ,indians1 subjugated  
by the  force and cunning of the        

,english ,government1 having borne as   
much as is  humanly possible to         
bear--the loss of their liberty1 of     
their wealth1  and of their religious   
faith2 aggravated by the odious sight of
 their  oppressors2 every modest demand 
of theirs rejected2 weighed down every  
day more and more by additional         
taxation1--for some time past have      
burned with impatience to shake off     
their yoke and regain their lost        
liberty4 ,the ,english ,government1     
being aware in part of this movement1   
and in part ignoring it1 he felt himself
 in duty bound to proclaim it  loudly1  
as much for the good of his own people  
as for the ,english  themselves4 ,after 
having in vain attempted all ways of    
adjustment with  the ,government of the 
,queen 7first time of mention71 he hoped
 at least  by these means to open the   
eyes and move the heart of the ,queen   
7second  time7 in favour of those poor  
pariahs1 assassinated by a ,government  
who1  in the name of her ,majesty the   

,queen 7third time71 add to insult the  
derision of a people whom it has        
enervated with the pretext of           
civilising it4 ,revolution and war being
 imminent if their just demands  are    
this time again rejected1 the           
,government being responsible for this  
disaster1 and the ,queen 444 and the    
,queen----,here the orator1 as you  saw1
 was unable to continue1 and already    
they had allowed him to say too  much4  
,neither the gravity of his revelations 
nor his injurious  assertions against   
the ,government had been able in the    
least to excite  our delicate           
organisation1 but it was only and       
entirely on account of  the sacred name 
of the ,queen being mixed up in his     
speech so imprudently  and with so      
little judgment4    ,sidenote3 ,,the    
,,indian ,,mutiny4    ,the fact is1     
however1 that in less than five weeks   
from the day that  this poor ,indian    
attempted to make the truth             
known--explaining what was  wrong1 and  

revealing the consequences that would   
follow1 and counselling  a remedy--the  
telegraph1 with its flashing words1     
announced the ,mutiny1  the peril the   
,english were in1 and their calls for   
help4 ,it is true that  the ,queen was  
not then mentioned1 but for all that1   
men did not the less  die4 ,methinks ,i 
can hear it said1 ,what has this to do  
with your  memoirs8 ,in our opinion1 it 
has nothing to do either with your life 
or  with any artistic reflection that   
can be of interest to us4    ,sidenote3 
,,study ,,of ,,character ,,and          
,,temperament4    ,but this objection   
bears only the appearance of reason4    
,with this scene  ,i wished to depict   
the temper and character of the ,english
 in general1  and in particular of the  
two most prominent persons of that      
assemblage--namely1 the ,indian colonel 
and the president of the banquet4  ,and 
who is there who does not see how useful
 and good these studies of  character1  
taken from the life1 are to the artist8 

,the essential thing  required to make a
 work of art beautiful and valuable is1 
that it should  be a just expression of 
the passions and feelings of the various
  characters the artist wishes to       
represent4 ,it is vain to look for the  
right expression amongst the mercenary  
models that one ordinarily makes  use   
of4 ,the model is used for all that is  
on the outside--movement1  proportions1 
physical characteristics1 beauty of     
form1--for all1 in  fact1 except1       
however1 just that turn of the head and 
look of the eye1  that movement of the  
lips1 dilation of the nostrils1 and a   
thousand  other signs and indications on
 the face which reveal the inner        
struggles  of the soul4 ,these passions 
and feelings are more or less intense   
according to the temperament1 habit1 and
 education of different  individuals2   
and in the mysterious sea of the soul1  
tempests gather1 and  become the more   
dreadful in proportion as they are not  
kept in check by  reason4 ,not to give a

 false expression to the subject we wish
 to treat1  we must study all these     
differences4 ,love in ,francesca does   
not manifest  itself as in ,ophelia1 the
 madness of ,orestes is not that of     
,hamlet1  ,ugolino's grief is not the   
grief of ,prometheus1 and ,penelope's   
sadness  is different from that of      
,ariadne's4 ,there are natures in whom  
the soul  is of such delicate fibre1 and
 who revolt so haughtily against an     
insult1 that1 oblivious of physical     
weakness1 they flash into anger1 and    
rush blindly against the offender1      
whoever he may be4 ,there are others1   
strong and robust in body1 who take     
things comfortably and easily1 and  let 
alone the calumnies launched against    
them2 which1 in fact1 have  rather the  
effect of mosquitoes upon them1--they   
are disturbed for a  little while1 and  
then go quietly to sleep again4 ,the    
acute thrusts of  love wound but the    
external epidermis of these well-wadded 
souls4  ,giuseppe ,giusti created a     

couple of these curious beings--man and 
woman--and he called them ,taddeo and   
,veneranda4 ,for them the sea that ,i   
spoke of is always becalmed1 and their  
tranquil souls float peacefully  about  
therein4 ,there is1 however1 a calm very
 different from this1  brought by reason
 into these fierce struggles of the     
soul4 ,the first1  instead of being a   
calm1 is indolence1 and all the fibres  
that make our  whole being move and     
throb1 are1 as it were1 dormant4 ,but   
this calm ,i  speak of is caused by the 
force of reason1 and strengthened by the
  sentiment of temperance and charity4  
,sidenote3 ,,giusti',s ',,amor          
,,pacifico4'    ,how much self-control  
that ,indian officer must have exercised
 over  himself1 knowing that he was     
proclaiming a great truth1 which1 had it
  been listened to and reparation made  
in time1 would have prevented that  most
 unfortunate war that he knew to be     
imminent1 certain1 and  homicidal6 ,to  
hear the shouts crying silence to him1  

and not to be  disturbed by them1       
continuing with a firm voice not any    
louder 7which  would indicate anger71   
nor lower 7which would be a sign of     
fear71 only  stopping a little when the 
other voices grew louder and prevented  
him  from being heard1 and then again   
taking up his discourse without turning 
to the right or to the left1 and        
repeating over again the last word that 
had been drowned by the noise1--,i say  
that this produced on me the  impression
 of a profound admiration for the man4  
,even now1 after twenty  years have     
elapsed1 ,i seem to see that grand      
figure before me1 and ,i  feel all his  
manly tranquillity4    ,sidenote3       
,,clemente ,,papi4    ,sidenote3        
,,casting ,,in ,,bronze ,,of ,,abel4    
,one of the peaceful natures1 always    
content1 so well described by ,giusti   
in his ',amor ,pacifico1' and whom ,i   
knew well1 was ,professor ,clemente     
,papi1 an excellent caster in bronze4   
,when ,i knew him he was between  fifty 

and sixty years of age1 of moderate     
height1 stout build1 and high  colour1  
always laughing1 always full of bright  
stories and little jokes4  ,the muscles 
expressive of indignation had1 as it    
would seem1 been left  out of his       
composition by mother nature4 ,his brow 
was always  smooth--there was never a   
frown on his face when speaking or      
listening1  whatever might be the       
subject of discussion2 and this constant
 habit of  laughing made him laugh1 or  
shape his mouth into a smile1 even in   
the  most serious moments of life4 ,this
 man1 who was in many respects most     
excellent1 in his art1 in his family1   
and as a master1 appeared as if he  had 
no heart1 or as if it were made of      
sugar-candy2 and yet he died  suddenly  
of heart-disease4 ,as ,i have said1 he  
had a heart1 but it was  sugar-sweet2   
the bitterness of sorrow and the        
harshness of anger never  in the least  
disturbed his state of calm1 careless   
joviality4 ,the  following occurrence   

depicts ,professor ,papi's nature to the
 life3 ,the  ,grand ,duke having ordered
 a cast in bronze of my ,abel1 and all  
the  preliminary work for the fusion of 
it having been accomplished1--that is   
to say1 the mould made on the original  
plaster1 the earth pressed into  that   
mould to form the kernel1 or nocciolo1  
so as both to obtain  lightness and to  
strengthen the cast--the wax cast having
 been made and  the necessary touches   
given to it by myself--the whole cased  
in its  heavy covering1 armed and bound 
about by irons that it might bear the   
stream of liquid metal1 and placed in   
the pit and heated to allow the  wax to 
escape from the fissures1 then baked    
that it might become of the  consistency
 required for the operation1--the       
composition of the metal  was prepared1 
placed in the furnace1 and set on fire4 
,after fifteen or  twenty hours1 the    
melting was accomplished--an operation  
easily related1  but which was the      
result of many months of labour and     

great expense4 ,the  valve was then     
opened1 that it might descend into the  
mould below4 ,the  strangeness of the   
enterprise1 the time and sacrifices of  
those employed  in it1 the strange and  
almost mysterious spot where the        
operation took  place1 the heat from the
 furnace-fire1 the gases that came from 
it1 the  anxiety of the workmen1 their  
extreme fatigue in that decisive moment1
  the lamp that burned before the       
crucifix1 and prayer that preceded the  
opening of the valve--all filled me with
 an undefined sense of the  marvellous  
and unknown1 of the fearful and sacred4 
,the valve was opened1  the metal flowed
 down the pipe into the main channel    
clear and liquid1  as all metal is      
during this process4 ,joy was depicted  
on all the faces  of those anxious      
persons who had toiled so long on the   
work4 ,the metal  had been already      
poured into the greater part2 the mould1
 which had  resisted well1 cased as it  
was in its thick covering1 and bound    

with  hoops of iron1 gave no signs of   
cracking1 nor was any noise heard1 as   
not unseldom happens when1 as the metal 
flows in1 the air inside has not  an    
easy escape4 ,papi stood upright and    
beaming1 ready to embrace his  scholars1
 when all at once some little violet    
flames from the mouth of  the furnace   
announced the cooling off of the metal1 
which gradually  slackened its flow and 
lost its splendour4 ,stupor and         
depression were  depicted on all        
faces--a mortal pallor1 rendered        
stranger still by the  light reflected  
from the furnace1 making them look like 
spectres4 ,the  metal no longer flowed  
along1 but began to drop in flakes like 
polenta1  then became coagulated1 and   
then stopped still4 ,the statue was     
little  more than half cast1 and all was
 lost6 ,at this sight the poor workmen1 
tired out1 and torn with grief1 threw   
themselves on the ground with  violent  
contortions and weeping4 ,i1 between    
stupor and regret for the  failure of   

the work1 the seeming despair of those  
poor people1 and the  grief--although   
not visible1 but still great--that ,papi
 must feel1 did  not know what to say2  
it seemed as if my tongue were tied4 ,i 
wanted to  get away from that place of  
misery3 it seemed to me as if those     
people1  master and workmen1 must be    
left alone to give vent to their sorrow4
  ,papi came to my rescue4 ,he came up  
to me1 and said that he had promised    
the ,grand ,duke to give him the news of
 the casting1 and that he had  hoped to 
do so himself2 but as it had failed1 he 
did not feel courage  enough to carry   
him the bad news1 and begged me to do   
so4 ,he shook hands  with me1 and turned
 to take leave of others that he had    
invited or  allowed to be present at the
 casting4    ,sidenote3 ,,failure ,,of  
,,the ,,casting4    ,the evening was    
well on when ,i went to the ,pitti4 ,i  
spoke to ,paglianti1  the royal valet of
 the ,grand ,duke1 and asked if ,i could
 be permitted to  have an audience4     

,paglianti knew me1 and also knew that  
the ,duke liked  to see me4 ,in a few   
moments ,i was shown into his study1 and
 briefly told  him what had happened4   
,according to his wont1 he listened     
thoughtfully  and attentively1 but did  
not seem disturbed by it4 ,one would    
have  thought that he was listening to a
 thing that might be anticipated as     
possible or probable4 ,then he began to 
speak--    ,poor ,papi6 poor man6 ,who  
knows how disappointed he must have     
felt1 and  how miserable he is now8 ,and
 your work1 too1 which gave you so much 
trouble--all is lost6 ,i feel deeply for
 your misfortune and that poor  man's   
unhappiness4 ,let us think about        
consoling him4 ,return to him1 and  tell
 him in my name to be of good cheer1 for
 there is a remedy for  everything1 and 
that ,i am certain he has nothing to    
reproach himself  with2 for1 when one   
has taken every possible precaution to  
secure  success in the execution of     
anything1 and notwithstanding all1 the  

work  does not turn out well1 no one can
 blame him for it1 and ,i least of any  
one4 ,tell him that battles are won and 
lost in the same way4 ,sometimes  even a
 mistake makes one win1 and one can lose
 in spite of every  forecast4 ,tell him 
this and more1 all that comes into your 
head1 to  comfort him1 and speak in my  
name4 ,go at once to him1 console him1  
and  your words will bring him a little 
calm4 ,i am certain that you will do    
him a great deal of good1 and that he   
may afterwards be able to rest          
to-night2 but ,i am sure that if you do 
not speak to him1 the poor man  will not
 sleep4    ,sidenote3 ,,grand ,,duke    
,,sends ,,me ,,to ,,console ,,papi4     
,i went almost at a run1 and from       
,palazzo ,pitti to the ,via ,cavour is a
  good bit of way4 ,i was all in a      
perspiration4 ,i knocked at his door1   
and  after a time his maid-servant      
appeared4    ,who is it8 says she4      
,it is ,i2 open the door4    ,oh1 is it 
you1 ,signor ,professor8    ,yes1 it is 

,i2 open the door1 ,i have a word to say
 to your master4    ,the master is in   
bed2 you could speak to him to-morrow4  
,no2 ,i must do so now4 ,if he is in    
bed1 no matter2 he will be glad all  the
 same4    ,but if he is asleep1 do you  
want to wake him8    ,asleep6 said ,i2  
is he asleep8    ,sidenote3 ,i ,,find   
,,papi ,,asleep4    ,yes2 he is asleep1 
,i assure you4 ,he has been asleep more 
than two  hours1 he was so tired when he
 came home4    ,well1 then1 since you   
assure me that he is asleep1 my         
commission is at  an end2 and when he   
wakes up1 which will probably be        
to-morrow morning1  you may tell him    
that ,i had come in a great hurry to say
 two words to  him that contained the   
power of making him sleep1 but having   
found him  in his first sleep1 ,i shall 
tell him another time1 although they may
  then seem quite stale4    ,to speak   
sincerely1 such an extraordinary feat ,i
 have never been able to  explain4 ,to  
sleep after a similar misfortune--to go 

to sleep at once1  immediately1 two     
hours after1 at his usual hour1 the hour
 when those who  have nothing on their  
minds sleep6 ,and yet1 now that ,i think
 of it1  ,napoleon slept on the night   
that preceded one of his greatest       
battles4  ,so at least he wrote in his  
biography1 and because it is printed1 a 
great number of simple-hearted people   
believe in it as they do in the         
,gospel2 and you1 gentle reader1 do you 
believe it8 ,mi1 no6 as ,sior  ,tonin   
,bonagrazia would say4    ,it has been  
necessary to make this digression on    
character1--that  is to say1 on the     
difference between those who acquire    
calmness by  virtue of their reason1 and
 those whose senses are obtuse to all   
passions--differences which are visible 
to any one who observes with  care1 and 
that escape many1 indeed most people who
 do not think4 ,let the  young artist be
 persuaded that the study and           
observation of the true  nature of love 
and human passions are most essential4  

,let them give up  all thoughts of      
seeing these expressions in their       
models4 ,one's studio  models are common
 people1 who certainly have their       
feelings and  passions1 but they are    
generally vulgar2 and in any case1      
during the  time that they are posing as
 models1 they are thinking of everything
  except the moral condition of mind of 
the person they are representing4  ,one 
may answer1 ,we know this2 the artist   
should himself give the  expression     
required by his subject4 ,quite right2  
but how can the artist  seize hold of   
the right expression if first he has not
 seen it in life1  and studied with     
attention beyond words8 ,then it is     
evident to me1 and  other works show it 
without my words1 that not a few artists
 expect and  insist on finding          
expression in their models4 ,i remember 
an artist who  flew into a passion      
because his model did not assume an     
expression of  grief4 ,the model        
naturally laughed louder and louder1    

every time this  simpleton said1 ,don't 
laugh2 be serious and sad2 ,i want you  
to express  grief4    ,sidenote3 ,,study
 ,,of ,,expression ,,from ,,nature4     
,it is true that this kind of study may 
occasion some little  inconvenience--as1
 for instance1 one may pass for being   
very stupid1  because absorbed in       
observing and committing to memory1 and 
hearing  nothing that has been talked   
about4 ,one may answer at random1 and be
  extremely ridiculous4 ,one may appear 
as a somewhat offensive admirer1  and   
give umbrage to some jealous husband4   
,one may even pass for a  scatter-brain 
and imbecile4 ,but have patience6 ,with 
time and practice  the artist will gain 
his point1 and be able to study as much 
as he  wishes1 while assuming an air of 
indifference that will shelter him from 
the above-mentioned misconceptions4     
,sidenote3 ,a ,,circe ,,at ,a ,,ball4   
,sidenote3 ,a ,,lesson4    ,he may1     
however1 fall into other mistakes2 and  
,i here take note of them  that he may  

avoid so doing4 ,one evening ,i was at a
 ball at the ,palazzo  ,torlonia at     
,rome4 ,i have no fancy for balls1 but  
,i like to see a great  many            
people1--beautiful ladies1 elegant      
dresses1 and naked arms1--and  more than
 all1 the expression of eyes now        
languid1 now animated1--smiles  now     
ingenuous1 now coquettish1--the         
weariness of the fathers1 and the  eager
 concern of the mammas1--the reckless   
joy of the ,don ,giovanni in  erba1 and 
the deceitful1 washed-out look of the   
,don ,giovanni in  ritiro4 ,it is a     
pleasant as well as useful study1 as    
long as one does  not change parts1 and 
instead of a spectator become an actor  
in the  scene4 ,the lime-twigs are      
spread out1 the little owls are at their
  places2 so beware1 ye blackbirds1 not 
to be caught4 ,there ,i stood2 the      
painter ,podesti1 with whom ,i had come 
to the ball1 had left me1 carried  away 
by the attractions of the card-table4   
,in one of the many rooms open  for the 

circulation of the company1 and for the 
repose of dancers and  those not        
dancing1 seated on one of the divans ,i 
saw a young woman of  singular beauty4  
,she was about thirty3 several gentlemen
 surrounded her  like a garland1 and she
 had now for one1 now for another1 some 
trivial  gay word2 but in strange       
contrast with her careless words and    
smiles was  her austere brow1 and the   
haughty looks that came from her eyes4  
,the  turn of her head was stately and  
attractive2 and a clasp of diamonds     
that was fastened in her dark shining   
hair flashed every time she moved4  ,i  
never saw a more assassinating beauty   
than hers6 ,leaning against the  wall on
 the opposite side of the room1 studying
 that face with its  strangely variable 
expression1 all the women of history and
 fable with  which this singular beauty 
had affinity rose before my mind4 ,less 
full  of passion than ,norma1 less      
ferocious than ,medea1 almost ,helen1   
and1  without an almost1 a ,circe1--in  

fact1 one of those women who promise    
one paradise and prepare one an         
inferno--capable of killing the body1   
the soul1 and the memory of a man4 ,when
 ,i had got so far in my  reflections1  
the young lady rose1 and coming straight
 towards me1 she  said these simple     
words--,monsieur1 tandis que vous       
pensiez1 je ne sais  pas  quoi1 la cire 
a coul tout  son aise sur voire         
habit--and she  passed on slowly1       
demolishing in two words my castles in  
the air4 ,i  found1 in fact1 that the   
shoulder and sleeve of my dress-coat    
were  covered with wax1 to say nothing  
of the suppressed laughter of the       
beautiful ,circe4 ,of two things one    
must therefore be warned--to put  one's 
self out of the dangerous proximity of  
lights1 and to be careful  to look at   
people with some reserve4               
,,chapter ,,xvi4         ,,on ,,the     
,,study ,,of ,,expression ,,from        
,,life--,,the ,,care ,,one ,,must ,,take
 ,,in       ,,making ,,studies ,,from   

,,life--,a ,,genre ,,picture ,,and      
,,raphael',s ,,cartoon       ,,of ,,the 
,,massacre ,,of ,,the ,,innocents --,i  
,,lose ,,myself ,,in                    
,,london--,,the ,,housemaid ,,at ,,hotel
 ,,granara--,,the ,,inconvenience ,,of  
,,being ,,ignorant ,,and                
,,absent-,,minded--,,ristori ,,and      
,,piccolomini ,,in       ,,london--,,the
 ,,cartoons ,,of ,,raphael ,,at         
,,hampton ,,court--,,fantasy ,,runs     
,,away ,,with ,,me--,a ,,curious ,,but  
,,just ,,law--,,the ,,result ,,of       
,,fasting--,,the ,,villa ,,of ,,quarto  
,,and ,a ,,prince',s ,,early            
,,hour--,,again       ,,of ,,prince     
,,demidoff4      ,but it is time to     
return to the point ,i started from1 and
 to speak of  the study of character and
 spontaneous expression from life4 ,in  
fact it  was in ,london that ,i had     
occasion to see a picture of            
extraordinary  beauty for strength and  
truth of expression1 in which the result
 of that  study was clearly             

demonstrated4 ,this picture1 on         
exhibition at the  ,school or ,academy  
of ,fine ,arts1 was of small dimensions2
 the subject1 a  familiar one1 or1 as it
 is usually called1 genre1 was as       
follows3 ,to  the right of the person   
facing the picture is a gentleman's     
country-house1 and outside by the       
garden-gate a mother is seated near  her
 little girl1 who is ill1 and reclines  
in an arm-chair1 supported by  pillows4 
,the mother has left off working1 and   
looks anxiously at the  pale exhausted  
girl1 whose eyes are sunk deep in their 
sockets1 and who  smiles and looks      
languidly at two little children1 a boy 
and girl1  little peasants1 strong1     
healthy1 and robust1 who are dancing1   
and have  evidently been invited to do  
so by the parents of the little invalid4
 ,it  is autumn1 the hour a sad one4    
,the last rays of the sun are gilding   
the  dead leaves on the trees and on the
 bushes4 ,on the left you see the       
father in close conversation with the   

doctor1 questioning him with  anxious   
eyes1 whilst he1 very serious and sad1  
hardly dares look at the  unhappy       
father4 ,to speak the truth1 when genre 
pictures are so full of  interest and   
life as this1 ,i prefer them to all the 
gods of ,olympus4  ,but1 generally1 they
 are entirely wanting in this first     
quality1 and  abound in the second1     
which becomes vulgarity2 and so the     
foundation of  art1 which is the beauty 
of truth1 is wanting1 and only the      
business  remains1 with its puerile     
attractions4    ,sidenote3 ,,the        
,,national ,,gallery ,,in ,,london4     
,i saw many other works of art1 both in 
painting and sculpture1 at this         
exhibition of living ,english artists1  
but none of them compared with  that    
marvellous work4 ,i do not remember the 
name of its author1 and much  ,i regret 
it2 but ,i have given a minute and exact
 description of it4    ,in the ,national
 ,gallery1 rich in pictures of the      
,italian school1 ,i  admired a          

marvellous cartoon of ,raphael's1       
slightly coloured1 of the  ,massacre of 
the ,innocents4 ,it is jealously guarded
 under glass4 ,of the  beauty of this   
work as to form1 ,i do not speak--it is 
,raphael's1 and  that is enough2 but    
what most struck me was the brutal      
movement of  murdering soldiers1 the    
desperate convulsive resistance of the  
mothers1  pressing to their breasts the 
little babes1 whilst they scratch and   
tear  at the faces of the executioners2 
and it would seem as if one heard  their
 sharp screams mingled with the cries of
 the murdered infants4 ,the  calm and   
flowing grace that are the              
characteristic notes of that divine     
genius1 do not appear in this2 but      
instead one sees and hears parole  di   
dolore1 accenti d'ira1 voci alte e      
fioche1 of the desperate mothers4       
,those who have not seen this cartoon   
and the others at ,hampton ,court1 of   
which ,i will soon speak1 cannot        
entirely appreciate ,raphael4           

,sidenote3 ,i ,,lose ,,my ,,way ,,in    
,,london4    ,i advise young artists who
 want to go to ,london to learn a little
 of the  language of the country2 they  
will find themselves the better for it4 
,it  happened to me1 who knew nothing of
 it1 one day to lose myself in that     
interminable city1 and another day1 very
 little to my taste1 to find  myself    
carried off in the train to ,scotland4  
,if1 therefore1 they learn a  little    
,english1 they will understand that     
,leicester ,square is pronounced        
,lester ,squere4 ,as ,i said1 ,i lost   
myself in ,london1 and this was how4 ,i 
lodged at the ,hotel ,granara4 ,granara 
is an honest ,genoese1 who knows how  to
 attend to his own affairs1 as all the  
,genoese do1 and more than that1  knows 
how to secure the goodwill of his       
customers1 almost all of whom  are      
,italians4 ,his hotel was at that time1 
in #ahef1 in ,leicester ,square4  ,it   
was my habit then1 as always1 to go out 
very early in the morning and  take a   

little turn before breakfast4 ,i made it
 a study to observe well  all the       
turnings1 the names of the streets and  
their peculiarities1 so  as to be able  
to return home1 but did not succeed4 ,i 
tried again and  again for about two    
hours1 before asking my way1 to see if  
it were  possible for me to find a      
street1 a name1 or a sign that ,i had   
seen  before1 but all was in vain4 ,i   
was tired1 had had no food1 and had not 
a  soldo in my pocket2 and although ,i  
had with me the key of the place  where 
,i kept my money1 this was of no avail  
in getting me a breakfast4  ,driven by  
hunger ,i put aside my pride1 or rather 
my pretence1 of finding  my way to the  
inn1 and asked a policeman4 ,i asked him
 both in ,italian  and in ,french1 but  
he did not understand me1 and presented 
me to  another1 but with the same       
result4 ,there ,i beheld myself lost in 
that  immense city1 without a penny1 and
 very hungry4 ,it must be admitted that 
my position was a rather serious        

one--not that those excellent policemen 
did not perfectly understand that ,i had
 lost the way to my hotel1 and  were    
most desirous of putting me on the right
 road to it1 but they did  not know how1
 as they were not acquainted with the   
name of the square  that ,i inquired    
for4 ,at last1 and it was quite time1   
one of them took  out of his pocket his 
note-book and pencil and gave it to me1 
saying in  good ,french1 crivez le lieu 
o vous tes log4 ,i had hardly written   
the first word when the policeman       
quickly said1 ,lester ,squere8 ,it may  
be so1 said ,i2 but to make sure ,i     
finished writing out the address1       
adding even the name of the hotel1 and  
showed it to him1 to which the          
policeman said1 ,yes1 very well4 ,he    
took the paper and begged me to  follow 
him to another policeman at the end of  
the street1 to whom he  consigned me and
 the paper1 and having exchanged a word 
or two with him1  returned to his post4 
,the new guard1 without uttering a word1

 took me to  another and consigned me to
 him1 and so on1 until in about half an 
hour  ,i was reconducted home4          
,sidenote3 ,,it ,,is ,,best ,,to ,,speak
 ,,english ,,in ,,england4    ,you      
understand me1 therefore1 in ,england   
the knowledge of a little of  the       
,english language will do no harm1 and  
not be de trop1 and by it  you may avoid
 another inconvenience1 that of finding 
a teacher at the  wrong time and place4 
,let me explain myself4 ,the            
maid-servant who had  the care of my    
room got it into her head that she would
 teach me to  speak ,english1 and she   
set herself to work to teach me with a  
method  entirely her own4 ,she seized   
hold of a chair and called it by name1  
then  the chest of drawers1 then the    
bed1 then the looking-glass1 c41 and    
she insisted that ,i should repeat these
 names after her in her language4  ,the 
thing in itself was innocent enough1 but
 foolish1 as both she and ,i  lost our  
time by it4 ,for me it was not so much  

matter1 but for her the  neglect of her 
duties might have lost her her          
situation2 and therefore1  with the     
language common to all--that is1 by     
gesticulations--,i made her  understand 
that she must stop her lessons4 ,let the
 reader not think1  however1 that ,i    
refused that good1 and1 let me add1     
beautiful teacher in  a rough way2 no   
indeed1 ,i am not a satrap4 ,i said to  
her--7beg pardon67  ,i gesticulated all 
this to her nicely1 and with a good     
grace4 ,one must  always have every care
 to treat women in a gentle and         
respectful manner4    ,sidenote3 ,,visit
 ,,to ,,hampton ,,court4    ,here is    
another story1 always propos of the     
necessity there is of  knowing at least 
a little of the ,english language4      
,hampton ,court is a  palace of the     
,queen's1 about an hour's distance from 
,london by rail4 ,it  is open to the    
public on holidays4 ,the palace is      
beautiful1 and contains  many precious  
things2 the country about is green1     

fresh1 and pleasant3  therefore1 as can 
easily be imagined1 there is always a   
large concourse  of people4 ,i wished   
also to procure myself this outing2 so1 
betaking  myself to the northern        
station1 ,i took my ticket for ,hampton 
,court1 and  got into the train4 ,in    
that country one goes along at the pace 
of twenty  kilometres an hour4          
,enchanted by the sight of the beautiful
 country  clothed in its deep-green     
mantle1--so new to us who are accustomed
 to  ours1 so much more pallid1 and     
burnt in streaks by the greater         
fierceness of the sun1--,i forgot the   
pace we were going at1 paid no          
attention when we stopped1 and did not  
hear them call out the name  ,hampton   
,court4 ,i suppose similar things must  
happen to the touristes  who visit our  
,italy4 ,let us imagine one of them to  
have taken a ticket  for ,certaldo1     
desiring to visit ,boccaccio's house2   
the train stops1 and  the guard1 with a 
stentorian voice1 more calculated to    

slur over than  pronounce the name1     
calls out1 ,who is for ,certaldo8 7chi  
peccettardo74 ,naturally the touriste   
does not understand1 and allows  himself
 to be carried on maybe even as far as  
,siena4 ,but this is not so  bad as my  
case1 for ,i ran the risk of being taken
 on to ,edinburgh4  ,fortunately ,i     
began to suspect that ,i had passed by  
the station where ,i  ought to have got 
out1 and asked4 ,the answer was1 that we
 had passed  ,hampton ,court some time  
since4    ,sidenote3 ,,am ,,carried ,,on
 ,,beyond ,,hampton ,,court4    ,what   
must ,i do8 ,i asked4    ,stop at the   
first station2 and this evening1 by the 
,edinburgh train1  you can return to    
,london4    ,are there no other trains  
before this one1 that ,i may return to  
,london  during the day to dine8    ,no4
    ,many thanks6    ,i got down at the 
first station1 paid the difference in my
 ticket1 and1  in the very worst of     
humours1 took a turn in the little      
village or  hamlet1--,i did not even    

care to ask its name4 ,i had some       
wretched food1  and everything seemed to
 me bad and ugly4    ,yes1 yes2 a little
 of the language of the country is even 
more necessary  than bread or than      
money1 for the ,english--and ,i think   
they are  right--speak no other language
 than their own4 ,but they go so far as 
to  pretend1 when they come amongst us1 
that we should speak ,english like      
them2 and here they are in the wrong4   
,when ,i got home to the hotel in the   
evening1 ,avvocato ,fornetti and        
,caraffa1 my friends and companions at  
the hotel1 came to me smiling1 and      
said1 ,have you amused yourself8        
,sidenote3 ,,piccolomini ,,and          
,,ristori4    ,i said1 ,yes2 ,i did not 
tell them what had happened1 for they   
were the  kind of men who would have    
ridiculed me for a long time4    ,beyond
 these few little mishaps1 my time      
passed most pleasantly in  ,london4 ,my 
fellow-citizen ,marietta ,piccolomini   
was singing at the  ,queen's ,opera     

,house with ,giulini and ,belletti4     
,ristori was acting at the  ,ateneo     
,italiano4 ,there were very often       
concerts of music1 instrumental  and    
vocal1 where ,bottesini1 ,giovacchino   
,bimboni1 and the violinist  ,favilli   
played4 ,i knew ,de ,vincenzi1 who was  
afterwards in the ,ministry2  and ,i    
again met ,count ,piero ,guicciardini1  
,count ,arrivabene1 the  maestro ,fiori1
 that scatter-brain of a ,fabio         
,uccelli2 ,monti1 the  ,milanese        
sculptor2 our ,fedi2 ,bulletti1 a carver
 in wood2 ,romoli1 the  painter and     
sculptor2 and others1--in fact1 a       
perfect colony of  ,italians4    ,among 
the tragedies which ,ristori acted in at
 that time1 and which ,i  already knew1 
,i saw one that ,i liked extremely4 ,it 
was the ',camma1' by  ,professor        
,giuseppe ,montanelli1--in my belief1 a 
very fine work1 and  superlatively well 
interpreted1 in its proud and passionate
 character1  by the first actress1      
,signora ,ristori4 ,i heard the ,signora

 ,piccolomini1  with her usual grace and
 intelligence1 sing in the ',traviata'  
and the  ',figlia del ,reggimento4'     
,although these entertainments1 be they 
prose or  music1 were deserving of all  
praise1 yet the price of the            
entrance-ticket1 according to us        
,italians1 was enormously dear1 being   
one pound sterling1 which is equal to   
twenty-five lire and twenty  centimes of
 our money4 ,may ,i be forgiven if that 
is little8 ,one must  also take note    
that at that time1 ,a4 ,d4 #ahef1       
everything was done in a  small         
way1--reasonable incomes1 few           
requirements1 small expenditures1  and1 
smallest of all1 taxation4 ,the ciphers 
of millions in the great  book of       
',debit and ,credit' had not yet been   
invented2 the floating debt  did not    
even exist in dreams4 ,so that thirty   
lire codine at that time  represented   
nearly a hundred francs of to-day4 ,who 
is there 7,i mean  amongst us7 who would
 wish to spend a hundred lire for a     

',traviata'8  ,not ,i1 indeed2 for ,i   
remember1 when ,i was an abonn at the   
,cocomero  7now ,niccolini71 to have    
heard ,ristori for four soldi a-night1  
and she  acted equally well1 without    
taking into account her youth and       
beauty1  that inexorable ,time will not 
respect1 even in celebrities4           
,sidenote3 ,,prices ,,at ,,the ,,opera4 
,then you went to a foolish expense2 and
 you contradict yourself without  even  
turning your page1 for you say that you 
would not spend the money1  and at the  
same time you inform us that you heard  
,ristori act in  ',camma'6    ,i answer1
 ',camma' cost me absolutely nothing1 as
 the ,signora ,ristori1  who is as      
amiable as she is eminent as an artiste1
 favoured me with an  entrance-ticket2  
and so ,i clear up the apparent         
contradiction that the  critical reader 
was in such haste to bring forward4 ,go 
on1 however1 and  look sharply through  
these papers1 where you will find       
something of  everything4 ,moreover1 you

 will be often bored1 but ,i hope you   
will never  find any contradictions4 ,i 
have also a very good habit--that is1 of
  re-reading what ,i have written3 and  
then1 with a little art1 one  succeeds  
in putting everything nicely in its     
place4 ,you understand8 ,then  we will  
push on4    ,sidenote3 ,,hampton        
,,court4    ,in order not to fail a     
second time in my intention of seeing   
the royal  villa of ,hampton ,court1 ,i 
wrote that name on a card and showed it 
to the  guard every time we stopped4 ,i 
got there at last4 ,the place all about 
is  very pleasant1 with a wide1 clear   
horizon1 for the fogs only have their   
home in ,london4 ,the palace1 as may be 
imagined1 is large and majestic4 ,i     
don't remember the style of its         
architecture1 and don't want to refer   
to the easy expedient of consulting a   
guide-book4 ,i promised myself that  ,i 
would write my life1 the thoughts that  
came to me one after another1  without  
help1 trusting only to memory4 ,so ,i   

have done thus far1 and  intend doing so
 to the end4 ,the villa1 as ,i have     
said1 is majestic1  enclosed on all     
sides by gardens and orchards4 ,the     
interior consists of  innumerable halls 
richly decorated with paintings1        
somewhat out of  repair1 as they are no 
longer used1 it would appear1 as a royal
  residence4 ,people crowd more         
particularly to the ,queen's own private
  apartments1 to see her sitting-room1  
and even her bedroom with its           
bed-furniture1 and the thousand rich1   
pretty1 and curious things with  which  
these rooms are filled4 ,the rest of the
 place1 or the greater part  of it1 such
 as the gallery of pictures and         
cartoons1 is generally  deserted4 ,yet  
the ,english are great lovers of art2 we
 see them with  great interest frequent 
our galleries in ,rome1 ,florence1      
,venice1 and  ,naples4 ,but perhaps the 
people brought by curiosity to ,hampton 
,court  belong to the lower class1 which
 has not in ,london the feeling for art 

that the people even of the lowest class
 have in ,italy4 ,in a great long  hall1
 like a gallery1 ,i saw the eight       
cartoons of ,raphael that were made  for
 the arrases in the ,vatican4 ,they     
consist of ,st ,paul preaching to  the  
,athenians2 ,st ,peter and the miracle  
of the fish2 ,st ,peter and  ,ananias2  
,st ,peter receiving from ,christ the   
charge of guarding ,his  sheep2 ,peter  
and ,john healing the lame man at the   
gates of the  ,temple2 ,elymas the      
,sorcerer punished by losing his sight2 
and others  that ,i do not remember4 ,he
 who has never seen these cartoons1 and 
the  ,massacre of the ,innocents above  
mentioned1 can form no idea of the      
strength of ,raphael in that grandly    
fierce style initiated by ,michael      
,angelo1 who spread therein so broad a  
sail as to make him terrible to  the    
beholder1 and to occasion the shipwreck 
of many in a smaller craft1  who        
perished miserably1 desirous of         
following him on that fearful ocean4    

,sidenote3 ,,hyde ,,park4    ,there are 
other cartoons in the same gallery by   
,mantegna representing  the ,triumph of 
,caesar4 ,mantegna1 as all know1 as an  
artist is an  imitator of the antique3  
the execution of the work which is      
merely the  material part alone is his  
own1 for he took the conception1        
character1  and style1 in generalities  
and detail1 from the antique4           
,besides the treasures of art contained 
in the ,london museums--and one  may    
also call ,hampton ,court a             
museum--there are the beautiful public  
walks called parks4 ,the largest1       
richest in avenues1 fields1 and lakes   
peopled by innumerable ducks and fish1  
is called ,hyde ,park4 ,this is the     
promenade where all the fashionable     
world meet4 ,ladies and gentlemen on    
horseback dash down the interminable    
avenues of this park1 giving loose  rein
 to their fiery steeds4 ,it is a fine   
sight to see these animals1 so  elegant 
in form1 and at the same time full of   

fire1 pawing the ground1  neighing1 and 
fretting at the bit1 from their desire  
to be off3 but  still more beautiful to 
look at are those gentle ladies on their
 backs2  and when they are going at full
 pace1 bending slightly forward on their
  fiery steeds1 their flowing skirts1 in
 ample undulating lines1 giving a       
slender1 flexible look to their figures1
 you feel carried away1 and as  if you  
would like to follow them in that rapid1
 anxious race1 where  peril changes into
 pleasure1 and where the inebriation of 
the senses  becomes ideality4 ,such is  
the fascination youth1 beauty1 and      
strength  produce on the mind and senses
 of all natures susceptible of feeling4 
,it  is a pungent pleasure2 the soul    
struggles in these meshes of flowers1   
and their perfume inebriates and        
captivates it4 ,i beg pardon of the     
reader1 if1 for an instant attracted by 
this race of beautiful ladies1  my head 
galloped away with them4 ,another time  
,i will hold the reins  tighter2 and it 

ought not to be difficult to stop this  
little horse of  mine1 sixty years old4 
,sidenote3 ,,distribution ,,of ,,crimean
 ,,medals4    ,hyde ,park1 as ,i have   
said1 is larger than the two others1 ,st
 ,james's  ,park and ,regent's ,park1   
and is about five miles in              
circumference1 which  seems a good deal2
 but so it is4 ,these country spaces in 
the middle of  ,london are1 as have been
 justly said1 the lungs of the great    
city4 ,by  means of these green oases1  
impregnated with oxygen1 the air of that
  gigantic body of ,london1 where       
millions of men swarm like ants1 is     
constantly renovated4 ,these parks are  
rich in timber1 and flowers are  there  
cultivated with every art4 ,there are   
very few guards1 for great  respect is  
shown for the laws prohibiting the      
damaging of the plants4 ,a  curious but 
very just penalty is inflicted by them1 
and this is it3 ,if  ,signor ,tizio has 
damaged a plant1 or only picked a       
flower1 ,signor ,tizio1  according to   

the gravity of the mischief he has done1
 is prohibited from  entering those     
precincts for fifteen or twenty days4   
,and this is not  enough--it would be   
too little2 his name is posted up to    
view at all the  park entrances1        
specifying the damage he has done and   
the penalty  inflicted on him1 that     
everybody who goes there may read and   
laugh6    ,i was present in ,hyde ,park 
at the distribution of medals to the    
troops  on their return from the        
,crimea4 ,that great national fte was a 
splendid success--the whole army in arms
 and full uniform1 every part of  it in 
its proper place1 cavalry1 artillery1   
marines1 and infantry4 ,at  the end of a
 large camp a throne was erected for the
 ,queen1 her  children1 and her husband1
 ,prince ,albert4 ,the ,ministers1      
,court  dignitaries1 and ,lords         
surrounded her4 ,the ceremony was a long
 one4 ,the  troops had been on foot     
since early morning1 and many were the  
numbers  who received medals4 ,the sun  

beat down with great force on our heads1
  for it was in the month of ,june4 ,it 
is a fine sight to see the youth of     
,england1 tall1 square-shouldered young 
fellows1 with upright bearing and       
brilliant colouring2 but notwithstanding
 all this1 it would seem that  for all  
their strength of nature they cannot    
endure hunger4 ,i was  present at some  
little occurrences that astonished me   
extremely3 two or  three of those young 
men fainted as if they had been delicate
 girls1  although they had herculean    
chests and arms4 ,but so it is3 the     
,englishman1 when the hour has come1    
requires absolutely to have his tea2  if
 this fails1 he can no longer stand on  
his feet4    ,sidenote3 ,,englishmen    
,,must ,,have ,,tea4    ,that this must 
really be the case1 was demonstrated to 
me by the  affectionate solicitude shown
 by their comrades and the people       
carefully  conveying these fainting     
youths to the ambulances4 ,instead of   
this with  us ,italians1 we see young   

men of twenty bear long marches1        
discomfort1  and hunger with a bright   
face4 ,it is the difference of nature   
and habits  in the two nations4 ,i do   
not mean1 indeed1 to say that we do not 
feel  hunger--in fact1 ,i can say for   
myself that ,i feel it most ferociously2
  and if this expression seems          
exaggerated1 ,i will correct myself and 
add1  brutally and insolently1 and will 
recount a little anecdote in proof of   
my appetite1 especially after fasting4  
,it is a trifling matter1 that  goes as 
far back as thirty years4 ,at that time 
of juvenile effervescence  one wishes   
for much and feels much1 and is not very
 fastidious about  ways and means4 ,the 
fact is a curious one1 and1 to say the  
truth1 would  not be very pleasant for  
me to narrate were it not that it is    
peculiar1  and with the touch of a brush
 paints to the life the character of my 
early youth4 ,i had quite forgotten it1 
and it really would have been a  mistake
 to do so4 ,those fasting ,english      

soldiers reminded me of it1 and  ,i am  
very glad of it4    ,sidenote3 ,,visit  
,,to ,,quarto4    ,the benevolent reader
 must betake himself back to the time   
when ,i was  twenty-six years of age1   
which1 in a young artist1 sometimes     
means being  possessed of twenty-six    
devils4 ,true it is that with time and  
increase  of years these devils1 alas6  
diminish4 ,therefore1 at my present     
stand-point1 ,i feel myself absolutely  
free of them1 and could bear  fasting   
and hunger without dreaming of          
committing the impertinence that1       
without other preamble1 ,i am about to  
narrate4    ,lorenzo ,mariotti1 an agent
 of the ,russian ,government1 as ,i have
 before  mentioned1 brought me a paper1 
on which were written the following     
words3--    ,professor ,dupr is         
requested to come at an early hour      
to-morrow morning  to ,quarto4 ,a4      
,,demidoff4    ,quarto is an enchanting 
villa that was afterwards in the        
possession of  the ,grand ,duchess      

,maria of ,russia2 at that time1 it was 
the property of  ,prince ,anatolio      
,demidoff1 who had bought it from       
,prince ,girolamo  ,buonaparte1 the     
father of ,princess ,matilde4 ,it is    
four miles distant  from ,florence1 on  
the skirts of the steep hill of ,monte  
,morello1  enclosed by beautiful gardens
 and a fine park4 ,i therefore betook   
myself  there at an early hour2 and in  
the hopes of quickly despatching my     
business1 ,i had not thought of         
breakfasting before starting1 but merely
  took a cup of coffee4 ,i got into the 
carriage1 and arrived there at  about   
eight o'clock4 ,it was a good season of 
the year1 being ,may1 and  the day was a
 splendid one2 in its quietness and     
fragrance it reminded  me of those most 
sweet verses of the divine poet3--      
,e quale1 annunziatrice degli albori1   
,l'aura di maggio movesi ed olezza1     
,tutta impregnata dall'erbe e da        
fiori4#i     #i  ,and as the harbinger  
of early dawn1        ,the air of ,may  

doth move and breathe out fragrance1    
,impregnate all with herbage and with   
flowers4                                
--,,dante3 ,purgatorio1 ,canto xxiv4    
,so ,i tasted the voluptuousness of     
these first warm days in the pure       
quietness of our hills1 and ,i looked   
forward to a short conversation  with   
the ,prince 7as ,i imagined the motive  
of his summons71 and a speedy  return to
 ,florence4 ,i dismounted1 and told the 
coachman to wait2 he  lighted his cigar1
 took a turn round the villa1 and then  
placed himself  in the shade4 ,i asked  
for the ,prince1 and was answered that  
he was not  up4 ,then ,i feared that ,i 
should be obliged to wait2 but the      
message was1  at an early hour4 ,who    
knows1 however1 what is an early hour to
 a  gentleman8 ,i found out afterwards1 
as the reader will soon hear4           
,sidenote3 ,,hunger ,,at ,,quarto4    ,i
 walked about in the apartment1 in the  
court1 in the garden1 and in the  park1 
and from time to time ,i came back to   

see if the ,prince had asked  for me2   
but the ,prince had not yet called4 ,two
 good hours were already  past4 ,the    
pure air of the beautiful country1 the  
pleasant shade in the  park1 the odour  
of the violets and roses1 all had served
 to sharpen my  appetite4 ,i risked     
asking a servant if he could give me    
some breakfast1  but he answered that no
 one could have anything to eat before  
his  ,excellency had ordered his        
breakfast4    ,and is it late before his
 ,excellency orders his breakfast8      
,ah6 that is as it happens1--at mid-day1
 at one o'clock--when he thinks  best4  
,so saying he left me1 and ,i began my  
walks again4 ,the beautiful  country    
seemed to me less beautiful1 the shady  
avenues of the park had  assumed a      
certain sadness and obnoxious freshness1
 the odour from the  flowers made my    
head giddy6 ,what was ,i to do8 ,return 
to ,florence8 ,it was  far4 ,and what   
then of the ,prince's message8 ,i did   
not wish to fail to  meet his           

invitation4 ,i reflected a little1 and  
then resolved to make a  somewhat rash  
attempt1 but which succeeded admirably4 
,i had caught sight  of the             
breakfast-room1 with its table all set  
out with cups1 plates1  glasses1 cakes1 
confectionery--in fact with everything1 
even with  flowers in crystal vases that
 were a wonder to look at4 ,i went into 
the  room and rang the bell with        
violence2 in an instant a servant       
appeared  dressed in black1 to whom ,i  
turned1 and with my head well in the air
  pronounced in a harsh firm voice the  
one word--    ,breakfast6    ,sidenote3 
,i ,,order ,,breakfast ,,for ,,myself4  
,sidenote3 ,,after ,a ,,good            
,,breakfast4    ,the servant            
disappeared1 and returned almost on the 
instant with a  silver soup-tureen1     
which he placed on the table before me1 
and then  stationed himself behind me4  
,two other servants brought me ham1     
tongue1  caviale1 veal cutlets1 cold    
galantine1 and then asked if ,i wanted  

,madeira1 ,bordeaux1 or ,marsala4 ,i was
 satisfied with the ,bordeaux1 and  also
 partook of a plate of strawberries2 and
 as a last sacrifice1 ,i  sipped a cup  
of ,mocha coffee--really                
inebriating--lighted my cigar1 and  lost
 myself in the thickest part of the     
park4 ,i was really beaming4 ,i  felt   
restored in body1 and in a state of     
perfect wellbeing1 feeling a  certain   
sort of complacency with my spirit1 my  
genius1 my quickness--my  impertinence1 
let us say--which1 au fond1 was of good 
service to me  and did nobody any harm4 
,carlo ,bini assures us that the prison 
so  sharpened his brains that it was as 
much use to him in expressing his  ideas
 as style was3--        ,la prigione    
una lima s sottile1      ,che aguzzando 
il cervel ne fa uno stile2    and does  
not hunger1 ,i say1 sharpen the brain8  
,i could cite a thousand  examples of   
well-known geniuses who have grown up in
 the midst of  privations and hunger1   
but ,i do not wish to be pedantic4 ,this

 ,i know  full well1 that ,i should     
never have been capable of such an      
escapade had  ,i not had that formidable
 appetite1 nor should ,i have had the   
idea of  satisfying it in that way4     
,necessity sharpens the intellect to    
invent  and to act2 health and physical 
wellbeing kindle and spur on the fancy  
through flowering pathways of flattering
 hopes4 ,who knows with how many        
beautiful grilli and beautiful          
bright-coloured butterflies1 swift of   
flight1 a little glass of ,bordeaux1 or 
better still1 a glass of our good       
,chianti wine1 has brightened the life  
of poets and artists8 ,i found  myself  
in one of those beautiful dreams4 ,my   
mind wandered from one thing  to        
another2 the past and the future were   
mixed up together4 ,history and  fable1 
religion and romance1 light and serious 
love1 the fantastic and  the positive1  
fine statues1 fine commissions1 friends 
distinguished for  rectitude and        
genius1--all passed before me4 ,the     

flowers in the garden  seemed to me more
 beautiful and more odorous than ever1  
the sky brighter  and purer2 and never  
did the hills of ,artimino1 ,careggi1 or
 ,fiesole1  populous with villas1 seem  
to me so fair4 ,i never gave a thought  
to the  ,prince or to his having sent   
for me1 any more than if it had been all
 a  dream4 ,and all was a dream2 for ,i 
fell asleep seated on one of the        
sofa-chairs made of reeds1 and in my    
sleep my thoughts went back to  those   
beautiful legends of history and        
fable--beautiful women1 fine  statues1  
sweet friends--and to the delightful    
country1 when a slight  touch on my     
shoulder woke me from my placid sleep4  
,it was one of the  ,prince's servants1 
who was in quest of me to take me to    
him4 ,to judge  from their dress1 the   
,prince and ,princess must have only    
been up a short  time4 ,the ,prince was 
standing2 he had a cup in his hand1 and 
dipped some  pieces of toasted bread    
into it4 ,from the odour1 ,i became     

aware that it  was consomm4 ,the        
,princess was seated1 turning over the  
leaves of a  book of prints4 ,she was of
 rare beauty1 and the time1 the place1  
and  mild season of the year made her   
seem even more beautiful4 ,she ought    
therefore to have seemed and to have    
been an object of love and profound     
admiration to her happy husband2 and if 
you add to the attractions of  youth and
 beauty1 grace of education1 culture of 
mind1 and prestige of  birth1 the       
affection of the man who possessed her  
should have verged on  idolatry4 ,but1  
alas6 in life such perfect happiness    
never lasts2 and the  reader remembers  
what ,i told of the end of this union4  
,sidenote3 ,,prince ,,demidoff',s       
,,commission4    ,my dear ,dupr1 you    
have arrived a little late1 have you    
not8 ,i sent for  you1 but you had not  
yet come4    ,your ,excellency1 let me  
tell you4 ,i arrived betimes--in fact1  
very  early1 as your ,excellency        
indicated ,i should do in your note2    

but----  ,and here ,i told him the whole
 story already known to my reader2 and  
,i  cannot describe how delighted he and
 the ,princess were with it4 ,now and   
again the ,prince held out his hand to  
me1 saying1 ,bravo6 ,in faith1 ,i  like 
this4 ,bravo6    ,then he told me what  
was the object of his sending for me4   
,it was to  give me an order for a      
life-size statue of ,napoleon ,i41 in   
the very  dress which he possessed1 and 
would furnish me with4 ,he would procure
 me  a good mask and some authentic     
portraits2 but he begged me to make it  
in  the shortest possible time4 ,it was 
very evident that he wanted to  please  
the ,princess1 because whilst he was    
speaking to me he looked with  loving   
intensity at her1 and from time to time 
caressed her with a  gentleness almost  
childlike4    ,sidenote3 ,,prince       
,,demidoff',s ,,character4    ,it has   
been said that this man was extravagant 
and almost brutal2 but  when ,i remember
 the expression of radiant joy he had on

 his face when he  was looking at his   
wife while proposing to give her a      
statue1 as if it  had been only a flower
 or a fan--when ,i recall that ,i have  
seen him shed  warm tears for the death 
of ,bartolini1 and when ,i remember his 
great  charity in founding and          
maintaining the ,asylum of ,saint       
,niccolo1--,i  cannot but deplore the   
bad feeling and injustice of those who  
take  pleasure in blackening his        
character1 in misinterpreting facts1 and
  maligning his intentions4    ,the     
order for the statue of ,napoleon proved
 a failure1 as also for that  of the    
,princess1 owing to the separation of   
husband and wife4 ,and now  let me go   
back to my place1 for oh1 how ,i have   
wandered away from the  fainting young  
soldiers in ,hyde ,park6    ,the        
exhibition of the models competing for  
the ,duke of ,wellington's  monument was
 about to be opened1 so ,i thought it   
better to return  home--all the more1   
because ,i wished to stop in ,paris on  

my way back1 as  ,i had been in too     
great a hurry to see it when ,i came    
through4 ,by this  time1 nothing that   
there was to be seen in ,london had     
escaped me1 and ,i  could describe with 
great precision the ,docks1 the ,tunnel1
 ,westminster1  ,st ,paul's1 the ,tower 
of ,london1 the ,houses of ,parliament1 
c41 c42 but  to what use8 ,are there not
 guide-books8 ,and my impressions are   
many1 it  is true1 and not of the common
 run2 but they would require no little  
space1 and this would change the simple 
design and form of these  papers4       
,sidenote3 ,,examination ,,of ,,the     
,,models ,,in ,,london4    ,two or three
 days before the opening of the         
exhibition of these models1  the        
,minister of ,public ,instruction1      
accompanied by the royal  commissioner  
and other officials1 visited the great  
hall at ,westminster1  where the models 
were exhibited4 ,some ,english and a few
 foreign artists  thought proper to     
accompany the ,minister when he went to 

inspect these  works4 ,as for me1 ,i    
felt no such wish2 and not wanting to be
 thought  rude1 and as neither the      
commissioner nor any of the people with 
the  ,minister knew who ,i was1 ,i      
reclined in my shirt-sleeves on one of  
the  cases belonging to these monuments1
 and so passed for a common workman  in 
the hall4 ,the commissioner1 in fact1   
only knew me as a person of  trust1 who 
had some ability in restoring a work in 
plaster4 ,i hope the  reader has not    
forgotten that little affair4 ,i was    
consoled1 however1 by  seeing that the  
,minister stopped some time to look at  
my work1 although  he passed by others  
in too much haste1 excusable in many    
instances1 but  not in some1 where      
attention and praise were merited4 ,be  
it as it may1 ,i  was well pleased that 
he stopped before mine--and all the more
 so1 that  ,i did not form a part of his
 ,excellency's suite4 ,in fact ,i have  
been  always very slow in putting myself
 forward with ,ministers of ,public     

,works1 and ,i don't know to what saint 
,i owe this feeling of respect for  the 
,ministry4 ,with certain members ,i have
 had frank cordial relations1  before   
they became ,excellencies2 afterwards1  
when once they were in the  ,ministry1  
as if by a sort of magic they became for
 me such respectable  personages that ,i
 retired into myself1 and kept most     
willingly to my own  place4 ,then those 
poor gentlemen have so much to do that1 
without a  doubt1 if you wanted to see  
them1 you would be told that they could 
not  receive you4 ,so the fact of it is1
 that ,i have so much respect for  them1
 and just so much for myself1 as not to 
be willing to annoy them1  and there is 
not a ,minister of ,public ,works who   
can say1 ,this fellow  has bored me     
about this or that thing4 ,true it is1  
that by the grace of  ,god ,i have never
 felt the necessity of doing so4 ,once  
only1 and that not  on my own account1  
but from a sentiment of dignity and     
justice1  negotiations were entered into

 with the ,ministers ,natoli1 ,correnti1
 and  ,bonghi1 as to the completion of a
 base for my ,tazza1 which ,i mentioned 
some time back2 and as it just fits in  
here1 ,i shall now bring this  story to 
a close4 ,the subject is a delicate1 and
 for me a trying one1  but ,i shall     
discuss it with calmness1 and in as few 
short words as truth  and reason can be 
clothed4    ,sidenote3 ,,the ,,base ,,of
 ,,the ,,tazza4    ,sidenote3 ,i ,,leave
 ,,london4    ,the base of the ,tazza   
that ,i had modelled was either to be   
cast in  bronze or cut in marble1 and   
the last was decided on4 ,whilst they   
were  looking for a pure piece of       
close-grained marble1 the revolution    
took  place1 and the ,grand ,duke left4 
,my model had already been paid for1 and
  ,i hoped that the present ,government1
 sooner or later1 would have  confirmed 
the commission2 but ,i hoped in vain4   
,after several years had  passed1 ,i    
asked my friend ,commendatore ,gotti1   
,director of the ,royal  ,galleries1 to 

make known my claim to the ,ministry1   
which was done2 but ,i  obtained        
nothing4 ,later1 ,professor             
,dall',ongaro spoke about it to         
,correnti1 the ,minister1 and also      
obtained nothing4 ,at last ,commendatore
  ,d',ancona was most pressing in       
speaking to ,bonghi the ,minister1 and  
,betti  the ,secretary2 but then came   
the fall of the ,minister with his      
,cabinet1  and ,i was really tired out  
by the whole thing1 with its long1      
wearisome1  and useless negotiations4 ,i
 must add1 that as the model had already
 been  paid for1 the expense for        
executing it was all that was required2 
and yet1  notwithstanding all these     
recommendations1 this little sum was not
  granted1 and ,i was not given a       
hearing4 ,and here it is to the purpose 
to  remind the ,ministers of our        
,government that ,i for more than       
fifteen  years have occupied the        
gratuitous post of ,master of           
,finishing2 and as  in the statute      

creating this office it is declared that
 the ,royal  ,government is not wanting 
in funds to pay the professors who shall
 have  done the most for the good of    
their young pupils1 it is to the        
purpose1  ,i repeat1 to remind them of  
the office that ,i have filled1 and to  
declare to them that the pupils ,i have 
taught are now for the most part  young 
living artists--some of them already    
professors1 cavalieri1 and  masters in  
the schools--and that meanwhile ,i not  
only have not obtained  a recompense1   
but even my demand1 which to my belief  
was but a matter of  pure justice1 was  
not even listened to4 ,but enough of    
this4 ,i return to  ,london1 or rather  
let me say ,i leave it1 as my work was  
finished and in  place1 only waiting for
 the judges4 ,i therefore packed my     
trunk1 paid my  landlord1 said good-bye 
to my friends1 and got into the train1  
thinking  of that blessed ,channel where
 ,i had suffered so much in crossing4   
,,chapter ,,xvii4         ,,my          

,,father',s ,,death--,a ,,turn ,,in     
,,the ,,omnibus--,,the ,,ferrari        
,,monument--,i ,,keep ,,the ,,sappho    
,,for ,,myself--,,the ,,tired           
,,bacchante       ,,and ,,the ,,little  
,,model--,,raphael ,,and ,,the          
,,fornarina--,,the ,,madonna       ,,and
 ,,bas-,,reliefs ,,at ,,santa ,,croce   
,,and ,,cavaliere ,,sloane--,,my        
,,daughter ,,amalia ,,and ,,her         
,,works--,,my ,,daughter                
,,beppina--,,description       ,,of     
,,the ,,bas-,,relief ,,on ,,the         
,,fa,,ade ,,of ,,santa ,,croce--,i ,,am 
,,taken ,,for       ,,the ,,wrong       
,,person ,,by ,,the ,,holy ,,father     
,,pius ,,ix4--,,marshal                 
,,haynau--,,professor ,,bezzuoli ,,and  
,,haynau',s ,,portrait4      ,my stay in
 ,london had been rather a long one1 but
 it was necessary for  the restorations 
7and what restorations67 of my work1 and
 also to see  the wonders of art        
collected by that powerful nation1 by   
force of will1  money1 and time4 ,i     

stayed there about two months2 and      
notwithstanding  the many and novel     
distractions which that vast city       
offered1 and the  good health ,i enjoyed
 at that time under a climate so        
different from  ours1 ,i felt every day 
more and more keenly the ardent desire  
to see my  family1 so that when ,i      
arrived in ,paris ,i delayed very       
little4 ,the  letters which ,i received 
from home breathed the same affectionate
  longing that ,i felt myself2 and the  
gay1 thoughtless life of ,paris1        
instead of attracting me1 disgusted me4 
,my daughters by their mother's  side in
 our little parlour were always present 
to me2 and knowing their  dispositions1 
and the loving wisdom of the mother1 ,i 
felt that tender1  holy joy which is    
difficult to describe1 but such as a    
loving and  beloved father feels for his
 dear ones4 ,i had lost two years ago my
 poor  father from cholera4 ,the poor   
old man had at first resisted the fury  
of  that tremendous disease4 ,he lived  

at the ,carra1 beyond ,porta al ,prato4 
,all around death reaped its            
victims1--young and old1 poor and rich2 
it  spared no one4 ,almost every        
evening1 at dusk1 ,i went to him to     
assure  myself of his health4 ,one      
evening ,i found him unwell and in bed2 
but he  had no fever1 and his           
servant-maid1 a good girl1 served him   
with  affectionate zeal4 ,i left him    
quiet4 ,on going away ,i urged her to be
  attentive to my father through fear of
 the epidemic then raging4 ,the  girl   
assured me that ,i need not doubt of her
 being so1 and that ,i  might be        
tranquil4 ,the next evening ,i went back
 to see him3 he  was still in bed1 and  
was better2 but he told me that he      
stayed  there as a precaution1 and that 
he was to get up the following  day1    
having the physician's permission to do 
so4 ,the door had been  opened for me by
 a little boy1 to whom he gave lessons  
in drawing and                          
ornamentation--,gabriello ,maranghi--who

 to-day is one of our ornamental        
marble-workers4    ,sidenote3 ,,my      
,,father',s ,,illness--,,death ,,of     
,,rosa4    ,oh1 ,rosa1 ,i said to my    
father2 where is she8    ,rosa1 poor    
thing1 died this morning4 ,she came back
 from marketing1 put  down her things1  
went into her room1 and ,i have not seen
 her since4 ,they  carried her away a   
short time ago6--and the poor old man   
was much  moved4    ,this sudden news of
 a death so instantaneous upset me and  
frightened me  for my poor father4 ,it  
was the same whether he stayed there or 
was  carried elsewhere1 for in every    
district they died in the same way4 ,i  
went away sad at heart4 ,the next day he
 got up1 and was pretty well1  even     
gay--in fact1 for several days continued
 well1 and went on with  his work as    
usual4 ,one morning--it was ,sunday--my 
wife1 who had got up  before me1 came   
into the bedroom1 waked me up1 and      
said--    ,sidenote3 ,,death ,,of ,,my  
,,father4    ,nanni1 get up2 father is  

ill4    ,i looked in my wife's face1 and
 read there the nature and gravity of my
  poor father's illness4 ,i ran to him2 
he recognised me1 and said--    ,my good
 ,giannino1 you have done well to come  
quickly to your father2 ,i  am so glad  
to see you before ,i die4    ,he lived  
all day1 but had spasms of pain and     
wandered in mind4 ,then he  died1 and   
his face became serene1 as if he were   
sleeping peacefully4  ,whoever has lost 
a father knows the kind of grief it is6 
,as ,i have said1 ,i stayed but a few   
days in ,paris4 ,i saw1 on the wing as  
it were1 and without being able to study
 them1 the monuments of art in  which   
that great capital is rich4 ,i repeat1  
,i felt an irresistible  desire to      
return home4 ,of the artists1 ,i saw    
only ,gendron1 whom ,i had  known in    
,florence2 ,anieni1 a ,roman2 and       
,prince ,joseph ,poniatowsky1 then  in  
his prime4 ,what was most to my taste   
was to ride up and down the  streets of 
,paris in an omnibus to get an idea of  

the movement and  grandeur of that city2
 but an incident occurred to me that    
prevented my  having that desire any    
longer1 and ,i should have put an end to
 this  going up and down even if ,i had 
not already determined upon my          
departure4 ,this was what happened4 ,i  
had just come from a walk in the        
,champs ,elyses1 when ,i saw the omnibus
 which goes from the ,barrire du  ,trne 
to the ,madeleine standing still4 ,i    
said to myself3 ,very good2 ,i  will get
 in here1 go through all the ,boulevards
 as far as the ,barrire1  and without   
even descending1 turn about again1 and  
when ,i get back to  the ,rue du ,helder
 7where ,i lodged71 ,i will get out and 
go home4 ,the  omnibus started1 drove   
through all the ,boulevards des         
,italiens1 des  ,capucines1             
,poissonnire1 c41 and arrived at the    
,barrire4 ,the  passengers got out1 the 
omnibus stopped1 and the conductor said 
to me--    ,sidenote3 ,i ,,return ,,to  
,,florence4    ,monsieur1 descendez1    

s'il vous plait4    ,i answered1 ,je ne 
descends pas moi4    ,pourquoi donc8    
,parce que je retourne sur mon chemin4  
,the ill-concealed laughter made me     
aware of my mistake1 and the  conductor1
 with good manners1 gave me to          
understand that the drive ended  there1 
and on account of the lateness of the   
hour there was no return  trip4 ,i got  
out1 and was at least four miles from   
home4 ,to find a  carriage1 ,i was      
obliged to take a long walk towards the 
centre of ,paris1  and finally found    
one1 and had myself conveyed home1      
muttering against  my own stupidity4    
,the next day1 without turning either to
 the right or  to the left1 ,i returned 
to ,italy1--to dear1 beautiful          
,florence2 to the  bosom of my family2  
to my studies2 to my works2 to my good  
pupils2 to my  faithful workmen2 and to 
my dear friends4 ,fortune had favoured  
me in  ,london3 my work had gained one  
of the first prizes in the competition4 
,another prize was obtained also by     

,professor ,cambi4    ,i had scarcely   
got back from ,london when ,count       
,ferrari ,corbelli ordered  from me the 
monument for his wife1 the ,countess    
,berta1 whom he had lost  a few days    
before4 ,this work1 which he wished to  
see finished as soon as  possible1 was  
the cause of my abandoning the group of 
the ,deluge1  which ,i had already      
sketched1 as ,i have before stated4 ,the
 monument was  composed of a base1 on   
which was placed the urn containing the 
body of  the deceased4 ,modesty and     
,charity1 the principal virtues of the  
departed ,countess1 stand leaning on the
 angles of the sarcophagus1 and  above  
these the ,angel of the ,resurrection   
points the way to heaven for  the soul  
of the ,countess1 snatched from the love
 of her husband and  children4 ,the     
monument stands under an arch1 on which 
are three putti  who hold up some folds 
as if they were opening the curtain of  
heaven4  ,the background is encrusted   
with lapis-lazuli4 ,this monument is    

placed  in the ,church of ,san ,lorenzo1
 in the chapel next to the sacristy4 ,my
  friend ,augusto ,conti liked the      
conception of this monument1 but        
objected  to the nudity of the child of 
,charity4 ,i have a sincere respect for 
his  criticism1 as ,i respect also the  
one he made on the monument to ,cavour4 
,he is a profound and conscientious     
critic of art2 and besides this1 he  has
 had1 and has1 for me and my family1 a  
truly fraternal love1 and ,i  remember  
with emotion the part which he took     
during the illness and  death of my     
daughter and my wife4    ,sidenote3     
,,countess ,,ferrari ,,corbelli4        
,contemporaneously with this work ,i    
modelled a ,sappho1 and put it at  once 
into marble1 by order of ,signor        
,angiolo ,gatti1 a dealer in statues2   
but it happened that when he should have
 received the statue he had no  funds1  
and so ,i sent it to our ,italian       
,exhibition4 ,the ,government1 which    
had set apart a sum of money for the    

acquisition of the best works of  art1  
decided not to take my statue1 so ,i    
have it by me now4 ,it seems to  me 7,i 
confess the weakness7 as if ,i had been 
wronged1 so to speak1 and  as if my poor
 ,sappho resented this wrong from the   
new ,phaons3 so ,i  have wished to keep 
my faith with her1 since the desertion  
of her lover  had caused her death2 and 
although ,i have several times had      
offers not  to be despised1 yet ,i have 
never been willing to sell her4 ,who can
 tell  where this poor ,sappho will be1 
and how situated1 after my death8       
,sidenote3 ,,model ,,of ,,the           
,,bacchante4    ,at this same time--that
 is1 in #aheg--;,i made the model of the
 ,tired  ,bacchante2 and the idea of    
this figure was suggested to me by a    
little  model who was brought to me by  
her mother1 and who had never before    
been  seen naked by any one4 ,the       
freshness of this young girl1 her       
unspoiled  figure1 the delicate beauty1 
somewhat sensual1 of her face1 suggested

 as  a subject the ,tired ,dancer1 which
 afterwards was converted to a          
,bacchante2 and as some time before ,i  
had made a little statue1  representing 
,gratitude1 for the ,signora ,maria     
,nerli of ,siena1 the  general lines of 
that statuette served me as a sketch for
 this4 ,but were  ,i to say that it was 
only the beauty of the model1 the       
subject suggested  so spontaneously to  
me1 and the composition already made1   
that persuaded  me to keep the girl and 
make the statue1 ,i should not be       
telling the  exact truth4 ,the mother of
 this girl was one of those women who   
not only  throw aside all a mother's    
duty and responsibility1 but despising  
all  decency1 show that they are capable
 of worse things4 ,i tried at first to  
dissuade her from taking the young girl 
about to studios1 and so forcing  her to
 lose all that a maiden has most        
precious--modesty2 nor was ,i  silent   
about the perils that she was exposing  
her to4 ,but my words were  thrown away1

 for she smiled at them as if they were 
childish3 so ,i kept  the young girl and
 made the statue4 ,i can assure you that
 she was a good  young creature1 and    
when ,i had finished the model ,i       
dismissed her with  paternal words4 ,i  
saw her many years after1 so changed and
 sad1 that one  could hardly recognise  
her4 ,she told me her sad story1--a name
 was on  her lips1 but a daughter's love
 made her conceal it4 ,i repeat1 she was
  good1 and suffered1 but not by any    
fault of hers4 ,i have never seen her   
again3 perhaps she is dead--the only    
good thing that can befall any of  those
 unhappy creatures4    ,sidenote3 ,,the 
,,nude ,,model4    ,to some it may seem 
as if ,i have been rather tedious about 
this poor  ,traviata2 but most people1  
,i hope1 have found my indignation      
reasonable1  for the condition of such a
 girl as this is most sad and           
humiliating1--forced by her mother1 who 
ought to be the jealous guardian  of the
 modesty and innocence of her child1 to 

strip herself naked before  a man4 ,even
 though her mother remain there present1
 it is always a hard  thing1 and most   
disagreeable to a young woman jealous of
 her good name1  and dreading the looks 
and thoughts of the man there before    
her4 ,it is  not even impossible that it
 may be thought ,i have studiously and  
affectedly deplored such cases as these1
 as if ,i wished to show myself  better 
than ,i am4 ,i have no answer to give to
 any one who thinks thus1  for in these 
papers he will find nothing to justify  
such an opinion4 ,i  only desire to     
remind the profane in art1 that when we 
have a model  before us1 our mind and   
all our strength is so absorbed in our  
work1 and  the difficulties are so great
 in taking from nature just so much as  
is  required for the character1         
expression1 and form of our subject1    
that  nothing else affects us4 ,he who  
does not credit this is not an artist1  
and does not feel art4    ,i see a      
little smile of incredulity1 almost of  

triumph1 come over the  face of my      
unbelieving reader1 and the old story1  
so often sung and  perhaps exaggerated1 
of ,raphael and the ,fornarina placed   
before me1 to  belie my words4 ,this    
case of ,raphael and the ,fornarina was 
a unique one1  and quite different from 
the ordinary relations that exist       
between the  artist and his models4 ,a  
model is for us like an instrument or a 
tool1  necessary for our work4 ,if good 
and beautiful1 we prize her and respect 
her as we would a good tool2 if neither 
beautiful nor good1 we bid her  be off4 
,the ,fornarina was beautiful1 and      
perhaps she may have been even  good2   
but unfortunately she was of a sanguine 
temperament1 imaginative1  and ardent1  
as she appears from the portraits       
,raphael has left of her4  ,the graceful
 nature1 the delicate figure of the     
young artist1 and the  prestige of his  
fame1 roused the love and ambition of   
the beautiful  ,trasteverina4           
,amor che a nullo amato amar perdona1#aj

        ,love1 that exempts no one      
beloved from loving1    seized hold of  
that angel and smothered him in its     
embrace4 ,what has  this most fatal     
story to do with our usual artistic     
life8 ,to-day there  are no more        
,fornarinas1 and1 above all1 there are  
no ,raphaels2 and if by  chance an      
artist falls in love with his model1    
why1 he marries her1 and  there is an   
end of it4 ,in conclusion1 a good and   
beautiful model that  willingly and     
honestly 7,i use this word for want of a
 better7 does her  business1 ,i like and
 employ2 but a simple1 good-natured1    
ignorant young  girl forced to this     
shame by her own mother1 irritates me   
and makes me  sad4     #aj ,dante1      
,inferno1 canto v4    ,sidenote3        
,,raphael ,,and ,,the ,,fornarina4      
,at this time they were making the faade
 of the ,church of ,santa ,croce1  with 
the most valuable aid of ,cavaliere     
,sloane1 to whom we are chiefly         
indebted that it was possible to        

complete this work4 ,in the design of   
the faade there were bas-reliefs in the 
arches over the three doors3  over the  
middle door the ,triumph of the ,cross2 
over that of the right  nave the ,vision
 of ,constantine2 and over the other1 on
 the left1 the  ,refinding of the       
,cross4 ,i had already made for the     
faade the  ,madonna1 who stands high up 
over the cuspide of the middle door2 and
  because the subject was dear to me1 as
 also the idea which it should  convey1 
,i was content with a price which would 
barely cover the cost of  making it1    
without counting my work on the model4  
,but these three  bas-reliefs were much 
more arduous work2 and as ,i could not  
make them at  the same rate as ,i had   
made the ,madonna1 ,i refused4          
,cavaliere ,sloane1  however1 who much  
desired that these bas-reliefs should be
 made1 came to  me and begged me to     
accept them4 ,as to the price1 he       
assured me that we  should agree1 and   
that he would himself pay it1 because he

 wished that  the faade should be made  
by me4 ,i took time to reply1 and       
reflecting  that the three bas-reliefs  
would take much more time than ,i had to
  dispose of1 and desiring to help my   
two clever and affectionate pupils1  ,i 
proposed to ,cavaliere ,sloane to divide
 this labour into three parts4  ,the    
larger bas-relief1 that over the central
 door1 ,i would make2 the  other two1   
over the lateral doors1 should be made1 
one by ,sarrocchi of  ,siena1 and the   
other by ,emilio ,zocchi of ,florence4  
,sloane was satisfied  with my          
proposition1 but with the understanding 
that ,i should be  answerable for the   
excellence of these works1 and while ,i 
should leave  these artists freedom in  
their conceptions1 ,i should direct them
 in such  conceptions as well as in the 
execution4 ,this ,i formally promised to
 do1  and the work was decided upon4    
,sidenote3 ,,bas-,,reliefs ,,on ,,santa 
,,croce4    ,these bas-reliefs1 which ,i
 relinquished to my scholars1 recall to 

my  mind other works also given up to   
scholars1 but not mine4 ,among these is 
,professor ,costa of ,florence4 ,in the 
beginning of my artistic career1  when  
,i was making the ,cain and ,abel1      
,giotto1 and ,pius ,,ii41 ,i had  also a
 commission to make a statue            
representing ,summer1 for one of the    
four seasons which ornament the palace  
once called ,batelli4 ,this  commission1
 though a poor one1 ,i should have      
executed1 because ,i had  engaged to do 
so1 and poor ,batelli had urged it in a 
friendly way2 but  ,pietro ,costa1 then 
very young1 studious1 and needy1 begged 
it of me1 and  ,i1 with the consent of  
the person who had given the commission1
 gave it  up to him1 and it was a great 
success4    ,sidenote3 ,,my ,,daughter  
,,amalia4    ,now that ,i am speaking of
 my scholars1 it is but just that ,i    
should  mention my daughter ,amalia4    
,she used at that time to come and see  
me in  my studio with her mother and    
sisters2 and while the little ,beppina  

and  ,gigina stayed out in the little   
square playing together and gathering   
flowers1 ,amalia remained in my studio  
silently watching me at work4 ,when  her
 mother was getting ready to take her   
home1 she was so unwilling to  tear     
herself away from gazing at my work1    
that ,i asked her one day--    ,would   
you like to do this work8    ,yes1 papa1
 the child quickly replied4    ,well1   
then1 ,i said1 stay with me4    ,then ,i
 turned to my wife and said1 ,leave     
,amalia with me for company2  she can   
return home with me4 ,i arranged a slate
 on a little easel in  form of a        
reading-desk for her1 prepared some bits
 of clay1 and showed  her how to spread 
the clay to a certain thickness on the  
slate as a  foundation2 then ,i placed  
before her a small figure of one of the 
bas-reliefs from the doors of ,san      
,giovanni1 by ,andrea ,pisano1 and ,i   
said  to her1--,with this little pointed
 stick you must draw in the figure1     
then you must put on clay to get the    

relief2 but first ,i must see if  your  
drawing is like the original4 ,only the 
outline is necessary1 and  this line    
should only reproduce the movement and  
proportion of the  little figure you    
have before you4 ,do you understand8    
,the child  understood so well1 that1 at
 the first trial1 she traced all the    
outline  of the figure correctly4 ,it   
must1 however1 be remembered that       
,amalia and  her sisters had taken      
lessons in drawing from me1 and had     
always kept  them up4    ,sidenote3     
,,amalia ,,dupr ,,and ,,her ,,works4    
,from that day to this ,amalia has never
 left the studio1 and art has  become so
 dear a thing to her that she can now no
 longer do without it4  ,her works are  
well known4 ,besides portraits1 of which
 she has many1 the  greater number of   
them in marble1 she has modelled and    
executed in  marble various statues and 
bas-reliefs4 ,the statues are3 the      
,child  ,giotto1 ,dante's ,matelda1 ,st 
,peter in ,chains1 the ,monument of the 

,signora ,adele ,stracchi1 and that of  
our dearest ,luisina--statues all       
life-size1 and except the ,matelda and  
,st ,peter1 all cut in marble2  also two
 small statues1 a ,st ,john1 and an     
,angel throwing water1 for  the         
baptismal font in a rich chapel of one  
of ,marchese ,nerli's villas2  also a   
little ,angel1 still in plaster1 and a  
group of the ,madonna and  ,child with a
 lamb1 for the ,church of ,badia in     
,florence4 ,the bas-reliefs  are3 the   
,madonna1 accompanied by an angel1      
taking to her arms the  youthful soul of
 the daughter of the ,duchess           
,ravaschieri of ,naples4 ,for  ,arezzo3 
the ,sisters of ,charity conducting the 
asylum children to the  tomb of         
,cavaliere ,aleotti1 in act of prayer   
and gratitude2 eight saints  in         
bas-relief for the pulpit of the        
,cathedral of ,san ,miniato2 four       
bas-reliefs for monuments in that same  
cathedral to the following              
persons--,religion for ,bishop ,poggi1  

,history for ,bernardo ,buonaparte1     
,physics for ,professor ,taddei1 and    
,poesy for the poet ,bagnoli2 a  font1  
with a small statue of ,sant',eduvige1  
for the ,countess ,talon of  ,paris2 a  
bas-relief for the lunette over the door
 of my new studio at  ,pinti2 a little  
bronze copy of the ,piet2 a copy of the 
,justice1  also in bronze2 a statuette  
of ,st ,joseph1 and a statue of ,st     
,catherine  of ,siena1 in terra cotta1  
for the chapel of a pious refuge for    
poor  children at ,siena2 a little group
 in marble of the ,virt teologali for   
,signor ,raffaello ,agostini of         
,florence2 and a large statue1          
life-size1 of  the ,madonna ,addolorata1
 in terra cotta1 for the ,church of ,st 
,emidio at  ,agnone4 ,all these works1  
you understand1 were done by her as a   
pleasant  way of exercising herself in  
her art1 gratuitously1 as is most       
natural2  but it did not so appear to   
the tax-agent1 who1 however1 was obliged
 to  correct himself by cancelling her  

name from the roll of taxpayers1 where  
it had been put4 ,poor ,amalia1 working 
from pure love of art1 doing good  by   
giving your work away1 and often the    
worse for it in your pocket2 and  then  
to behold yourself taxed in the exercise
 and sale of your work6 ,a  pretty thing
 indeed6    ,sidenote3 ,,amalia',s      
,,character4    ,as ,i am now on a      
subject that attracts me1 ,i cannot tear
 myself from it  in such a hurry4 ,it is
 not permitted me to speak of the       
artistic merit  of my daughter4 ,my     
opinion would be a prejudiced one1 both 
as father and  as master1 and therefore 
,i have restricted myself only to note  
down the  works that she has done so    
far2 but ,i cannot refrain from making  
known  the internal satisfaction ,i feel
 in seeing my teaching productive of    
such good fruit4 ,it fell on ground so  
well prepared that it sprouted out      
abundantly and spontaneously4 ,the      
consolation a master feels when he  sees
 his pupil understand and almost divine 

his thought1 is very great2  and when   
this pupil is his own daughter1 one may 
imagine how much the  greater it is4    
,and when ,i think of her modest nature1
 shrinking from  praise1 desirous of    
good1 tender and compassionate with the 
poor in  their sorrow1 grieving as ,i do
 for the many irreparable family        
misfortunes1 ,i still thank the ,lord   
that ,he has let me keep this angel1    
and also my other daughter ,beppina1 who
 is not less loving to us and to  her   
husband1 by whom her love is returned in
 a ,christian spirit4 ,she  also is     
endowed by nature with sentiment for    
art1 and her drawings and  certain      
little models in clay are the           
indications of wide-awake1 ready        
aptitude4 ,i treasure a bust of ,dante  
that she modelled1 and that was cut  in 
marble1 and deplore that the new life   
she has entered upon1 and  perhaps a    
delicate feeling of consideration for   
her sister1 have made  her desist from  
the continuation of a career well begun4

 ,now she is a  mother2 and the duties  
of a mother are so noble and so arduous 
as to  repress any other tendencies even
 more natural to her and more           
attractive4    ,sidenote3 ,,the         
,,fa,,ade ,,of ,,santa ,,croce4         
,sidenote3 ,,bas-,,relief1 ,,triumph    
,,of ,,the ,,cross4    ,now let us      
return to the faade of ,santa ,croce4 ,i
 ordered the ,refinding  of the ,cross  
from ,sarrocchi1 and the ,vision of     
,constantine from  ,zocchi2 and both    
,zocchi and ,sarrocchi set themselves at
 once to work4  ,here is the explanation
 of the conception of my bas-relief3 ,it
 seemed to  me that the ,triumph or     
,exaltation of the ,cross ought to be   
explained  by means of persons or       
personifications that the ,cross1 with  
its divine  love1 had won or conquered4 
,the sign of the ,cross stands on high  
resplendent with light1 and around it   
are angels in the act of  adoration4    
,under the ,cross1 and in the centre of 
the bas-relief on the  summit of a      

mountain1 there is an angel in the act  
of prayer1 expressive  of the attraction
 of the human soul towards ,divinity4   
,by means of prayer  descends the grace 
that warms and illuminates the intellect
 and  affections of man4 ,the affections
 and intellect1 divided from the ,cross1
  again return to the ,cross1 and are   
expressed by the following figures  that
 stand below3 ,a liberated slave1 half  
seated1 half reclining1 with  his face  
and eyes turned upward1 expressive of   
gratitude for his  liberation1--for from
 the ,cross descended and spread over   
all the earth  that divine word of human
 brotherhood2 and near the slave a      
savage on  his knees1 leaning on his    
club2 the stupidity and fierceness of   
whose  look are subdued and illuminated 
by the splendour of the ,cross4 ,these  
two impersonations are in the centre    
below1 leaving the space to the  right  
and left for the following personages3  
,on the right of the person  looking at 
the bas-relief is ,constantine          

unsheathing his sword when he  beheld   
the sign and heard the words1 ,in hoc   
signo vinces2 near  ,constantine is the 
,countess ,matilda1 whose pious attitude
 revealed her  strong love for the      
,church of ,christ1 and enabled it to   
put up a barrier  against foreign       
arrogance1 and to defend the liberty of 
the ,italian  ,communes2 behind her1    
nearly hidden1 owing to her holy        
timidity1 the  ,magdalen1 to indicate   
that the ardours of lust were conquered 
by the  fire of divine love4 ,on his    
knees1 bent to the ground1 with his face
 in  his hands1 is ,st ,paul the elect1 
who from an enemy had become the        
strenuous defender of the ,gospel and   
apostle of the ,gentiles4 ,st ,thomas1  
with one knee on the ground1 a book in  
his hand1 in a modest pensive  attitude1
 recalls the words of ,jesus1 who said1 
,bene scriptisti de me1  ,thoma4 ,a     
little in the background1 near          
,constantine1 is the ,emperor           
,heraclius1 dressed in sad raiment1     

commemorative of the wars against the   
,christians2 and a ,roman soldier       
bearing the standard inscribed with     
,s4,p4,q4,r4 closes the composition on  
this part of the bas-relief4 ,on the    
left side the principal figure is       
,charlemagne2 an unsheathed sword is in 
one hand1 and in the other a globe with 
a cross1 emblems of his vast  dominions 
and his mission of propagating the true 
faith2 he also  represents the greatest 
material power conquered for the glory  
of the  ,cross4 ,dante is near him--the 
greatest ,christian intellectual        
power--and he holds in his hand the     
three ',canticles1' called by him       
',poema ,sacro4' ,near ,dante the poor  
monk of ,assisi1 with his hands  pressed
 to his breast1 looking lovingly and    
with fixed attention at the  ,cross4 ,in
 these three figures are represented the
 dominator of the  world1 the dominator 
of the spirit1 and the dominator of     
poverty and  humility attracted by love 
of the ,cross4 ,to complete this group  

you see  ,st ,augustine in his episcopal
 robes1 holding in his hand a volume of 
',the ,city of ,god'2 and behind them a 
martyr with a palm1 as pendant to  the  
,roman soldier on the opposite side4    
,sidenote3 ,,the ,,triumph ,,of ,,the   
,,cross4    ,such is the composition of 
the ,triumph of the ,cross1 which is    
above  the middle door of that temple   
where the ashes of ,michael ,angelo and 
,galileo rest1 and where it has been my 
desire for so many years that a         
memorial monument to ,leonardo da ,vinci
 should be placed4 ,and1 vain  though it
 be1 ,i shall always call for it louder 
and louder1 the more  that ,i see the   
mediocrity that a want of taste         
continues to erect there4    ,as it is  
not permissible for me to speak of the  
praise ,i had for this  work1 ,i will   
not pass over in silence a criticism    
that was made to me  about my having    
selected the ,countess ,matilda to put  
into my  composition4 ,it was objected  
that the ,countess ,matilda served the  

,pope1  served the ,church of ,rome1 but
 did not do homage especially to the    
,cross4 ,i have given the reason of her 
serving the ,pope4 ,i have already      
given a few words in explanation of that
 personage2 and as for the  distinction 
that there is between the ,church of    
,christ and ,christ  ,himself1 ,i must  
frankly say that ,i do not understand   
it4 ,let not the  reader believe1       
however1 that ,i am one of those        
,christians desirous of  being more     
,christian than the ,pope himself1 and  
excessively intolerant  and passionate4 
,no2 ,sidenote3 ,,pius ,,ix4 ,,in       
,,florence4    ,i am with the teaching  
of the apostles1 and that seems to me   
enough1 for  it includes all1 even      
comprising the beautiful exhortation of 
,father  ,dante1 when he says--         
,avete il vecchio e il nuovo            
,testamento1      ,e il pastor della    
,chiesa che vi guida1#aa c4        ,ye  
have the ,old and the ,new ,testament1  
,and the pastor of the ,church who      

guideth you4     #aa ,dante1 ,paradiso1 
canto #e4    ,in fact--not now1 but     
soon--,i will let you know1 and touch   
with your  hand1 so to speak1 the fact  
that ,i am not in the good graces of    
some of  those people who depicted me to
 the eyes of the ,holy ,father after the
  manner of a bad barocco               
painter--falsifying proportions1        
character1  and expression4 ,but1 as ,i 
have said1 ,i will return to this later 
on2 and  meanwhile1 ,i must say that the
 ,holy ,father did not know me at all1  
as  the only time that ,i had the honour
 of bending before him and kissing  his 
foot he took me for another person4 ,and
 it occurred when the ,pontiff  ,pius   
,,ix4 passed through ,florence after his
 tour through the ,romagna4 ,the  ,grand
 ,duke did all the honours of ,florence 
to him4 ,during the few days  that he   
remained in ,florence the ,grand ,duke  
accompanied him wherever he  thought it 
would give him pleasure to go1 and1     
amongst other places1 he  took him to   

visit the manufactory of pietre dure1   
and the ,academy of  ,fine ,arts2 and on
 this occasion our president invited the
 ,college of  ,professors to be present1
 that we might see the ,holy ,father    
near1 and  perform an act of reverence  
to the ,supreme ,hierarch4 ,the ,pope   
was seated  on an elevated place like a 
throne2 on his left was the ,grand      
,duke2 the  ,ministers1 dignitaries1 and
 our president were standing near him4  
,we  were called1 one by one1 and       
presented by our president1 ,marchese   
,luca  ,bourbon del ,monte1 to the ,holy
 ,father2 and those who were presented  
prostrated themselves before him1 kissed
 his foot1 and then returned to  their  
places4 ,when it came to my turn1 the   
,grand ,duke turned to the ,pope  and   
said--    ,sidenote3 ,a ,,mistake ,,of  
,,pius ,,ix4    ,here1 ,blessed ,father1
 is the artist who made the ,cain and   
,abel that  your ,holiness seemed well  
satisfied with4    ,and the ,holy       
,father1 turning to me1 answered--    ,i

 congratulate you4 ,they are two most   
beautiful statues4 ,you have  nothing to
 envy in the ,berlin or ,munich casting4
    ,most ,blessed ,father1 ,i hastened 
to reply1 ,i am not the caster of  those
 statues1 but----    ,go1 continued the 
,holy ,father--go1 and may ,god bless   
you2 and making  one of those great     
crosses in the air that ,pius ,,ix4 knew
 so well how to  make1 he sent me away  
in peace1 in the midst of the silent but
 visible  hilarity of all those who had 
witnessed my embarrassment4 ,it is more 
than probable that the ,grand ,duke     
rectified the mistake incurred by his   
,holiness2 and ,i should regret if ,i   
had remained in his mind as the  caster1
 when that merit belonged personally and
 legitimately to  ,professor ,clemente  
,papi4 ,but if it is easy to imagine    
that that mistake  was then cleared up1 
it is difficult to say the same of the  
one at the  present day1 because it is  
harder to rectify4 ,i heed very little  
the  censure of certain extreme         

,catholics1 believing that ,i share it  
with  many whom ,i should wish to       
resemble in every respect3 but the      
censure of  the ,pope was indeed painful
 to me2 and ,i managed in such a way1 by
  showing myself just as ,i am1 that ,i 
obtained his goodwill4 ,but of this1  as
 ,i have already said1 ,i will speak    
further on1 and now ,i return to my     
works4    ,sidenote3 ,,portrait ,,of    
,,marshal ,,haynau4    ,the reader may  
have observed that ,i have made no      
mention of portraits1  although ,i have 
made many4 ,as1 however1 amongst these  
portraits there is  one that made some  
noise1 and as the things that were said1
 being  magnified by passion and by the 
inexact information of the person who   
spread these reports1 might lead those  
who are in the dark to form a  wrong    
impression1 ,i have thought best to     
narrate the facts as they were4    ,one 
day a gentleman asked to speak to me4   
,he was a man of about sixty1  tall1    
thin1 with deep-set1 changeable1 and    

vivacious eyes1 thick-marked  eyebrows1 
long moustaches1 lofty bearing1 and with
 such a singular and  expressive face1  
that when an artist sees it1 he is at   
once possessed  with a desire to make it
 a study4 ,this gentleman said--        
,would you make my portrait8    ,i      
answered1 ,yes4    ,how many sittings do
 you require to make the model8    ,six 
or eight1 or more1 according to the     
length of the sittings4    ,when could  
you begin8    ,the first days of next   
week4    ,very well3 ,monday ,i will be 
with you4 ,at what hour8    ,at nine in 
the morning1 if not inconvenient to you4
    ,good-bye1 then1 until ,monday4 ,do 
you know who ,i am8    ,i have not the  
honour4    ,i am ,marshal ,haynau4 ,and 
he went away4    ,sidenote3 ,,anecdote  
,,of ,,haynau4    ,sidenote3 ,,portrait 
,,of ,,haynau4    ,now1 to say that1    
after having heard the name1 ,i had     
pleasure in making  his portrait1 would 
be a falsehood2 and yet the singularity 
of that  face1 the curiosity ,i had to  

become acquainted through conversation  
with  a man of such haughtiness and     
fierceness of character1 the engagement 
,i  had entered into1 and my pledged    
word1 all took from me the courage to   
renounce the work4 ,it is useless to say
 how all my friends1 and  naturally even
 more1 those who were no friends of     
mine1 declaimed  against me4 ,the       
newspapers were full of attacks1 the    
story of the  brewery in ,london1 with  
all its details1 was told1 magnified and
  praised2 in fact1 to tell the truth1  
it was in the days when ,i was  taking  
his portrait1 and then alone1 that ,i   
was made acquainted with the  fierce    
nature of this great person1 as my only 
idea of him until then  had been a very 
indistinct and sketchy one4 ,the beauty 
of it is1 that in  the conversation he  
held with me he showed himself a quiet  
man1 opposed  to all cruelty1 although a
 severe military disciplinarian1 and    
inexorable in punishing refractory      
soldiers4 ,he made no mystery of this1  

and he named to me the ,hungarian       
generals and officers that he had had   
shot1 as the most natural thing in the  
world2 and because ,i blamed him  for   
this1 he answered3 ,with rebels one     
could not do otherwise1 and that  he    
would have become guilty himself had he 
not punished them4 ,but ,i1 who  had    
read of his cruelty to women1           
children--to all1 in fact--censured  him
 for this1 and he denied it in a most   
decided manner1 adding a story  which1  
if true1 ,i don't know what to say4     
,here is the anecdote3 ,when he  had    
gained the victory at ,pesth1 and had   
all the heads of the revolution  in his 
hands1 they were all condemned to death 
by a council of war4  ,amongst these    
were the ,archbishop of ,pesth and a    
,count ,karoli4 ,he had  the alter ego  
in his hands1 and in consequence his    
orders had no need  of the ,imperial    
sanction2 but both the ,archbishop and  
,count ,karoli had  powerful friends and
 adherents at ,vienna1 and these did so 

much1 and  exerted themselves to such a 
degree1 that1 an hour before the        
execution  of the sentence1 the         
,imperial reprieve arrived4 ,as he1     
however1 thought  both of these men more
 guilty than the others1 owing to their 
high  position1 and as it seemed to him 
unjust that they should be saved and    
the others sacrificed1 he called them   
all into his presence1 and after  having
 informed the two fortunate ones of the 
,imperial pardon1 he added  these words3
 ,it is my conviction1 in virtue of the 
proofs which ,i have  in my hands1 and  
which have been examined by the council 
of war1 that  the ,archbishop and ,count
 ,karoli are the most guilty of any of  
you2 but  as our most gracious sovereign
 has saved them from the penalty that   
they  deserved1 it is not just that     
those who are less guilty should suffer 
from it2 therefore1 availing myself of  
the power ,i have of alter ego1  ,i     
spare the life of all4 ,i can attest the
 truth of this story1 not only  in its  

general sense1 but even to its wording4 
,the truth of the story1 ,i  say1 for as
 to the facts ,i know nothing4 ,and ,i  
have made a note of it2  for if by      
chance it was not true1 to the stain of 
cruelty one can add  that of having told
 a lie to appear merciful4 ,the fact was
 that he  discussed all his affairs with
 facile prolixity4 ,he spoke of art and 
the  artists that he had known at       
,milan1 ,venice1 and ,bologna1 in the   
days of  our servitude to ,austria1 and 
through all his stories there was always
  something or other of the bombastic4  
,he urged me to make his statue1 but  ,i
 decidedly refused to do so4 ,he spoke  
to me about it several times1 and  at   
last ,i was obliged to speak openly to  
him1 and he thought my reasons  just    
ones4 ,then he manifested to me his wish
 to have his portrait  painted on       
horseback1 and asked me if ,i knew a    
clever artist with a name  that would   
undertake the work4 ,this question      
embarrassed me1 being  myself already   

compromised4 ,i took some time to think 
about it1 and fate  was propitious1 and 
gave me a companion with whom to bear   
the censure  and abuse that only too    
certainly rained down upon us4          
,sidenote3 ,,bezzuoli',s ,,defence ,,of 
,,my ,,bust4    ,early the next morning 
,professor ,bezzuoli came to my studio1 
and  said--,let me see the portrait of  
,marshal ,haynau4    ,certainly2 here it
 is4    ,do you know1 says ,bezzuoli to 
me1 that yesterday ,i had to take up    
your defence8 ,there were certain       
chatterboxes1 that don't know even how  
to draw an eye1 who1 talking of you on  
account of the portrait you are  making1
 said you ought never to have accepted  
it1 and that they could  never have     
abased themselves to do so4 ,i answered 
that an artist when he  makes a portrait
 is not occupied with politics4 ,if the 
person whose  portrait is taken is a    
scamp1 he will always be a scamp1 with  
or without  his portrait1 precisely like
 ,nero1 ,tiberius1 or other such beasts1

 of  whom such beautiful portraits have 
been taken1 that it is a pleasure to    
see them2 but it never comes into the   
mind of anybody for an instant to  say1 
,look what a canaille the artist must   
have been who made this  portrait6 ,so  
true does this seem to me1 that if      
,haynau had come to me  and given me an 
order to paint his portrait1 ,i would   
have accepted his  commission most      
willingly4    ,ah1 very well6 thought ,i
 to myself1 ,i shall no longer be alone2
 then  ,i said to ,bezzuoli1--,thank you
 for the part you have taken in my      
defence4 ,i still think if my colleagues
 only had an idea how ,i have been      
taken by surprise when ,i engaged to do 
this work1 and how the  originality of  
the head excited a desire in me1 and if 
they felt how  imperious the impulse    
born of that little capricious demon    
,art is--they  would1 ,i think1 be more 
indulgent with me2 and not only         
indulgent1 but  they would even praise  
me when they knew that ,i had refused to

 make a  statue of ,haynau for himself4 
,and propos of this statue1 which ,i    
shall not make1 ,i will tell you about  
it presently2 but first permit me  to   
ask a question4 ,i understood you to say
 that if this gentleman had  gone to you
 and asked you to paint his portrait1   
you would have accepted  the            
commission--did ,i understand right8    
,sidenote3 ,,bezzuoli ,,paints          
,,haynau',s ,,portrait4    ,you         
understood perfectly4    ,i then add    
that he will come4 ,he wants a          
full-sized portrait of himself  on      
horseback4 ,a large picture1 an attack  
in battle1 or something of that  kind2  
and later1 after mid-day1 he will go to 
you for this purpose4  ,should you like 
it8    ,i should like it very much2 but 
how can you speak to me with so much    
assurance about this8    ,then ,i told  
him what the reader already knows4 ,that
 morning the ,marshal  went with a note 
from me to ,professor ,bezzuoli4 ,in a  
few words all was  arranged2 the picture

 was finished in a short time1 and had a
 great deal  of deserved praise as far  
as work went1 and bitter censure for the
 rest1  which he divided and bore in    
company with me--with less resignation1 
however1 than could have been desired   
from so old an artist who had  thought  
over and discussed the importance of the
 engagement he had  taken4 ,this was the
 character of ,bezzuoli1 who preserved  
even as an old  man all the vivacity and
 impetuosity of open1 gay-hearted youth2
 but at  the same time1 he was          
mistrustful and touchy in the extreme4  
,when ,i  remember him1 full of vivacity
 and bonhomie1 the friend of young men1 
with his frank1 open-hearted1 sincere   
advice1 and at the same time full  of   
sensitiveness about the merest nothings1
 and with childish and  ridiculous      
ambitions1 such as not to be willing to 
be beaten at  billiards1 it makes me    
smile to think of the weakness of our   
poor human  nature4 ,he liked to invite 
a certain number of friends every       

,sunday to  his villa near ,fiesole1 and
 after dinner to play at billiards4 ,he 
who  was unfortunate enough to beat     
,bezzuoli1 was sure to find him cold and
  set against him for some time2 and    
those who knew this1 either for  pastime
 and amusement1 or for fear and         
interestedness1 bravely lost1 and  the  
poor professor was full of joy1 more    
even than if he had found some  new     
striking effect in art4    ,sidenote3   
,,bezzuoli',s ,,character4    ,here ends
 the anecdote of that famous portrait4  
,further on ,i will speak  of others    
that ,i had the order for and could not 
make1 and why ,i could  not make them4  
,,chapter ,,xviii4         ,,one ,,of   
,,my ,,colleagues--,a ,,mysterious      
,,voice--,,the ,,group ,,of ,,the       
,,piet--,,very ,,clear ,,latin--,a      
,,professor ,,who ,,ignores ,,the       
',,divina                               
,,commedia'--,,composition ,,of ,,the   
,,group ,,of ,,the                      
,,piet--,,digression--,a ,,good ,,lesson

 ,,and ,,nervous                        
,,attack--,,mancinelli ,,and            
,,celentano4      ,but if some of my    
very dear colleagues set themselves     
against me on  account of the great     
,haynau portrait1 not knowing that ,i   
had refused to  make his statue1 others 
were alienated from me1 ,i do not know  
for what  reason4 ,i will speak of one  
of them1 to show how a most respectable 
artist and colleague of mine1 having    
been led into error1 chose  strenuously 
to abide by it1 and thus broke up a     
relation that one might  call           
friendship2 for esteem is the first bond
 that draws one together  and creates   
love1 and ,i esteemed this colleague of 
mine1 and pitied him  for the error into
 which he had fallen4    ,when ,augusto 
,rivalta came from the school at ,genoa 
7his birthplace7 to  complete his       
studies in sculpture in ,florence1 his  
masters1 and he  himself1 had great     
faith in my school1 and ,i was1 with him
 as with all  my scholars1 an open and  

free expounder of those principles that 
,i  believe to be good1 and to lead     
directly towards the beautiful1 under   
the guidance of truth4 ,rivalta was     
always confiding and studious with  me2 
and as by nature he is endowed with no  
common genius1 he is to-day  a professor
 and active master at our ,academy of   
,fine ,arts4 ,now it  happened one day1 
during the early days that he was under 
my direction1  that ,i saw hanging on   
his studio walls a bas-relief of a      
,madonna by that  above-mentioned       
colleague of mine1 and the head of      
,bartolini's ,fiducia  in ,dio4 ,i      
thought it wise to warn my pupil of the 
error into which too  often even tried  
artists have fallen1 which is that of   
looking at and  reproducing in their own
 works reminiscences of such originals  
hanging  in their studios to attract    
poor artists4 ,therefore that morning my
  lesson consisted of the following     
words3--    ,sidenote3 ,,how ,,to       
,,preserve ,,one',s ,,originality4      

,when the idea comes to you to make a   
statue1 it forms itself naturally  in   
your mind1 and takes a movement and     
character all its own1 be it ever  so   
undecided and vague1 as an idea always  
is1 until it has been fixed  materially 
into shape2 but the idea is there 7for  
him who has it71 and  is original4 ,then
 begins attentive study1 and sometimes a
 long research  to be able to find a    
live model who approaches nearest the   
idea that you  have formed to yourself1 
and that you have already in your mind  
in  embryo1 or have indicated in your   
sketch4 ,from the moment1 however1 that 
you have found the model or models1 you 
must remain alone with them and  your   
idea2 no extraneous images must come    
between you and your work4 ,i  am afraid
 that those casts there facing me1 will 
in some way take from  the originality  
of the character and expression that you
 wish to give to  your statue1 and you  
will do well not to look at them4 ,let  
us  understand1 however1 that ,i say not

 to look at them whilst you are at  work
 on your statue3 afterwards you may look
 at them and study them as  much as you 
wish4    ,rivalta assured me that he did
 not look at them1 for he understood    
very  well1 that instead of being of    
help to him they would have confused    
him1 and that he found himself more free
 and unhampered when trusting  himself  
only to working from the live model4    
,having established this  most essential
 point in art1 ,i left him1 well pleased
 with both myself  and him4 ,but in the 
meantime1 this obvious1 clear1 and easy 
lesson of  mine created at first an     
angry feeling1 and afterwards a rupture1
  between me and my colleague1 the      
author of the bas-relief2 and this      
happened because a youth in ,rivalta's  
studio reported that ,i had said to  my 
scholar1 ,do not look at those casts1   
for they are rubbish4 ,i heard  this    
from ,professor de ,fabris1 to whom our 
friend made a clean breast of  it4 ,it  
was not enough for him that this friend 

of ours took up my  defence1 saying that
 he knew me thoroughly well1 and that ,i
 was  incapable of saying such things1  
adding1 that he ought himself to know   
well enough that ,i was averse to giving
 offence to any one1 and so might  feel 
sure there was some misunderstanding4   
,but all this was useless1 so  that our 
friend ,de ,fabris1 for the sake of     
peace1 thought best to speak  to me of  
it4 ,it can be imagined how astonished  
and how pained ,i was4 ,i  at once told 
him how the matter really stood1 and    
begged that he would  assure the        
professor of my affection and esteem for
 him as a friend and  as an artist4 ,it 
was all in vain1 and he insisted in     
believing in a boy  who had listened    
badly and reported still worse1 rather  
than in me1 or  even ,rivalta's         
testimony that ,i offered to bring      
forward4    ,sidenote3 ,,how ,a         
,,friendship ,,was ,,broken ,,up4    ,i 
should not have mentioned this small    
matter had it not been to explain  the  

sort of sensitiveness and obstinacy that
 one observes generally in  the artist  
class1 and most specially amongst us    
sculptors1 although1 to  speak the      
truth1 those defects showed themselves  
oftener1 and to a  greater degree1      
amongst artists of the past1 or who are 
now old4 ,the  young men of to-day are  
more frank1 more tolerant1 and more     
friendly  amongst each other1 and       
sometimes they even go to the excess of 
these  virtues by being frank even unto 
insolence1 tolerant even to scepticism1 
and careless1 thoughtless1 frivolous1   
and even worse1 in their  friendship4   
,who ignores the little bursts of temper
 and cutting words  bandied between     
,pampaloni and ,bartolini1 between      
,benvenuti and  ,sabatelli1 and between 
,bezzuoli and ,gazzarrini8 ,i shall not 
write a  record of them1 out of respect 
for their names1 and for ,death1 who1   
under his broad mantle1 has enshrouded  
them in solemn silence4 ,sleep in       
peace1 pilgrim souls1--within a short   

time even we shall join you2 and  when  
we are awakened at the dies ir1 we shall
 smile at our little  outbursts of      
temper in this most foolish life1 and   
become for ever  really brothers4 ,we   
shall be happy if we have nothing       
besides the  remembrance of these little
 sins1 already forgiven us by ,god1 if  
we have  forgiven others6 ,if by chance 
there be any one who thinks that ,i have
  offended him by excess of vivacity of 
temperament or otherwise1 even  though  
it be involuntary1 as might happen      
easily1 ,i beg his pardon4    ,sidenote3
 ,,jealousies ,,of ,,artists4    ,this  
little war of words1 sarcasms1 and what 
is worse1 reticences1 ,i  have always   
deplored2 and to succeed in being less  
tiresome to my  colleagues1 and for want
 of occasion to induce them to          
temperance1 ,i  have always kept myself 
aloof1 and have spoken of them as ,i    
could wish  them to speak of me4 ,to be 
just1 however1 ,i must declare that ,i  
have  seldom been 7openly1 ,i mean7     

exposed to the sting of their words2 and
  if1 as it happened1 ,i was once       
attacked with certain insistence in the 
newspapers on the occasion when my three
 scholars1 ,pazzi1 ,sarrocchi1 and      
,majoli1 exhibited their works in the   
,academy1 my friend ,luigi ,mussini1    
who handles the pen in the same masterly
 way as he does the brush1  reduced to  
silence with one single article the poor
 writer who had been  put up to say evil
 of the works of my scholars in order to
 do injury to  the master4 ,these       
injurious words have been forgotten and 
amply  pardoned1 but the beautiful and  
generous defence of my friend ,i have   
never forgotten4 ,i repeat1 however1    
that these little annoyances are  much  
less nowadays than they were1 or at     
least they have changed form4  ,to-day1 
instead of suggesting in undertones and 
mellifluous words the  defects of a work
 to some poor writer1 adding many that  
do not exist1  and being silent as to   
its merits1 it is rather the custom to  

come out  frankly and openly before your
 face with a criticism which1 if it has 
not the merit of temperance1 does at    
least not bear that ugly stain of       
hypocrisy as a mask to truth4 ,to this  
school1 although he be numbered  amongst
 the old and the dead1 ,bartolini did   
not belong2 and although one  of the    
elect in spirit and strength1 yet he    
sometimes allowed himself to  give way  
to passion4 ,while he was a young man in
 ,paris1 ,canova was there  making the  
portrait of the ,emperor ,napoleon ,i4  
,bartolini demanded and  obtained help  
from that great and beneficent artist2  
but being asked if  he would return with
 him to his studio in ,rome1 he refused3
 but to say1  as he did openly to me and
 to others1 that ,canova wished to take 
him  with him to put an end to his      
studies1 was not in conformity with the 
truth1 or with ,canova's well-known and 
benevolent character4 ,to the  sculptor 
,wolf1 who one day brought him a note   
from ,rauch1 he said1  without even     

opening it--    ,sidenote3 ,,bartolini4 
,how is ,rauch8    ,he is very well1 and
 sends you his greetings1 as you will   
see from the  letter ,i have given you4 
,sidenote3 ,i ,,change ,,my ,,studio4   
,rauch1 began ,bartolini1 444 but ,i    
have said above that the dead sleep  in 
peace1 and the portraits of ,bartolini  
and ,rauch are also at peace  with each 
other1 for in my house1 at the villa of 
,lampeggi1 they look  each other in the 
face1 and smile good-naturedly4 ,evviva6
 ,so1 perhaps1  they smile in the true  
life eternal at the littlenesses of our 
brief  life here4    ,it was at this    
time 7#ahfj7 that ,i was obliged to     
leave my studio in the  ,liceo di       
,candeli1 and with me all the other     
artists who were in that  place had to  
go1 as the present ,government decided  
to place the militia  there4 ,this      
change made me feel very sad1 for ,i had
 an affection for the  place4 ,i had    
improved it and enlarged it1 renting a  
ground-floor in the  next house1 and    

putting it into communication with the  
studio4 ,i had  embellished the court   
with plants1 fruit1 and flowers4 ,there 
my dear  little girls used to amuse     
themselves at play1 and gathered flowers
 to  take home and arrange in a little  
vase to put before the image of the     
,madonna4 ,one of them is no longer     
here1 ,luisina1 of whom in time ,i will 
speak2 but the other two--,amalia1 who  
is with me1 and ,beppina1 who is        
married to ,cavaliere ,antonio          
,ciardi--follow1 even now1 that pious   
custom1 which others may make fun of1   
but which ,i love so much when ,i  see  
these children of mine1 in all the      
simplicity and pureness of their  heart1
 make this act of homage to the ,virgin4
    ,my good ,marina1 who has also now  
joined our daughter and the other       
little ones and the boy 7seven angels in
 all7--my good ,marina tried to  console
 me with her mild words4 ,in her speech 
there was no excitement or              
speciousness1 but a persuasive sweetness

 and serenity1 learnt from duty  and    
temperance4 ,she had had no             
education--was a poor woman of the      
people1 as ,i have said in the          
beginning2 but ,i never felt bored by   
her1  never desired a more cultured     
woman to teach me lessons4 ,it is sweet 
to  me to return in memory to the time  
that ,i lived with my good companion2   
and ,i owe her so much6 ,i think that1  
if fate had given me another woman1  who
 had not had the patience to bear my    
crotchets and the quick words  that     
sometimes escaped me1 who had doubted my
 faith1 who had bored me  with          
tittle-tattle1 with sermons or other    
things1 ,i think 7,god save me67  that  
,i should have been a bad husband and a 
worse artist4 ,so that1 with  a slight  
variation1 ,i can repeat the words of   
the divine poet3--        ,e la mia vita
 e tutto il mio valore1      ,mosse     
dagli occhi di quella pietosa4#ab       
#ab ,vita ,nuova1 #ci4    ,sidenote3 ,a 
,,mysterious ,,voice4    ,i had         

therefore to resign myself to leaving   
the studio that ,i had an  affection    
for2 and the one ,i have now at the     
,academy of ,fine ,arts was  assigned to
 me1 with the charge of ,maestro di     
,perfezionamento1 without  stipend1 but 
with a promise of compensations1 which  
,i have never had1  perhaps because ,i  
have never asked for them4    ,a fact   
that ,i ought to have narrated long     
before this--quite domestic  and        
intimate in its wondrous strangeness--,i
 have kept silent about1  owing to a    
certain sentiment that ,i cannot well   
define2 but now1 in  recalling my good  
wife and my dead children1 ,i feel as if
 a voice within  me said1 ,tell         
it6--write the fact as it is1 without   
taking anything  from it or passing     
judgment on it4 ,so here it is4 ,my     
second daughter1  ,carolina1 was put out
 to nurse4 ,she was the only one that   
the good  mother did not bring up       
herself2 but1 from motives of health1   
she could  not do so4 ,the wet-nurse of 

this little child lived at ,londa1 above
 the  ,rufina4 ,the baby was thriving1  
when all of a sudden a very bad eruption
  came out all over her and her life was
 in danger4 ,the nurse wrote to us  to  
come and see her4 ,without delay ,i     
hired a calesse1#ac and left  with my   
wife3 the grandmother stayed behind to  
mind the little eldest  one1 who        
afterwards died at seven years of age1  
as ,i have written in its  place4       
,arriving at ,pontassieve1 we bent our  
way to the ,rufina1 and from  there     
continued on to ,londa2 on up a         
mountain1 in part wooded with           
chestnut-trees1 in part bare and stony1 
until we arrived at the small  cottage  
of the nurse of my little one4 ,the road
 circles around the hill1  and in       
several places is very narrow1 so much  
so that a calesse has  great difficulty 
in passing1--as is most natural1 for    
what has a  calesse to do up on that    
hill and amongst those hovels8 ,but we  
arrived1 as ,god willed it4 ,the baby   

was very ill1 and there was now no  hope
 that she could recover4 ,we remained   
there a night and a day2 and  having    
given all the orders in case of the now 
certain death of the  little angel1 ,i  
took the mother1 who could not tear     
herself from the  place1 away crying4   
,as ,i have said1 the road was narrow2  
and in our  descent1 the hill rose above
 us on our right1 and on the left we    
were on  the edge of a very deep        
torrent3 ,i don't know whether it was   
the  ,rincine1 ,moscia1 or some other4  
,the horse went at a gentle trot on     
account of the easy descent1 and we felt
 perfectly safe1 as ,i had put  the drag
 on the wheel4 ,my wife1 with her eyes  
bathed in tears1 was  repeating some    
words1 ,i know not what1 dictated by a  
hope that the child  would recover4 ,the
 sky was clear1 and the sun had only    
just risen1--we  saw no one on the hill1
 nor anywhere else1--when suddenly a    
voice was  heard to say ,stop6          
7,fermate67 ,the voice seemed as if it  

came from  the hillside4 ,my wife and ,i
 turned in that direction1 and ,i half  
stopped the horse2 but we saw no one4 ,i
 touched up the horse again to  push on1
 and at the same instant the voice made 
itself heard a second  time1 and still  
louder1 saying1 ,stop6 stop6 ,i pulled  
in the reins1  and this time my wife1   
after having looked all around with me  
without  seeing a living soul1 was      
frightened4     #ac ,old-fashioned      
one-horse carriage4    ,sidenote3 ,a    
,,mysterious ,,incident4    ,come1 have 
courage1 said ,i2 what are you afraid   
of8 ,see1 there is no  one2 and so no   
one can do us any harm4 ,and1 to put an 
end to the kind  of fear even ,i felt1  
,i gave my horse a good smack of the    
whip2 but  hardly had he started when we
 heard most distinctly1 and still       
louder1  the same voice calling out1    
three times1 ,stop6 stop6 stop6 ,i      
stopped1 and without knowing what to do 
or think1 ,i got out1 and helped  my    
wife out1 who was all trembling2 and    

what was our surprise1 our  alarm1 and  
our gratitude for the warning that had  
been given us to stop6  ,the linch-pin  
had come out of the left wheel1 which   
was all bent over  and about to fall off
 its axle-tree1 and this almost at the  
very edge of  the precipice4 ,with all  
my strength ,i propped up the trap on   
that side1  pushed the wheel back into  
its place1 and ran back to see if ,i    
could  find the linch-pin1 but ,i could 
not find it4 ,i called again and again  
for the person who had come to my help  
with timely warning1 to thank  him1 but 
,i saw no one6 ,in the meanwhile1 it was
 impossible to go on in  that condition4
 ,the little town of ,la ,rufina was at 
some distance1 and  although we could   
walk to it on foot1 how could the       
calesse be taken  there with a wheel    
without a linch-pin8 ,i set myself to   
hunt about on  the hill for a little    
stick of wood1 and having found it1 ,i  
sharpened  it1 and with the aid of a    
stone1 fastened it in the hole in place 

of the  linch-pin4 ,but as for getting  
back into the calesse1 that was not to  
be thought of2 so leading the horse by  
hand1 we slowly descended to  ,rufina1  
neither my wife nor myself speaking a   
word1 but every now and  again our looks
 bespoke the danger we had run and the  
wonderful warning  we had had4 ,at the  
,rufina ,i got a cartwright to put in   
another  linch-pin1 and we returned     
safely home4 ,if the reader laughs1 let 
him do  so2 ,i do not4 ,in fact1 the    
seriousness and truth of this           
occurrence1  which happened about forty 
years ago1 filled me then1 as it does   
now1  with a feeling of wonder and      
surprise4    ,sidenote3 ,i ,,make ,a    
,,piet4    ,in the first part of the    
year #ahfb1 ,marchese ,bichi-,ruspoli of
 ,siena gave  me the order for a        
monument to be placed in the cemetery of
 the  ,misericordia in that city1 where 
he had bought a mortuary chapel for     
himself and family4 ,he left me free in 
the choice of the subject1 and ,i       

decided on a ,piet1 a subject that has  
been frequently treated by many  artists
 at different times1 as lending itself  
to the expression of the  most          
unspeakable sorrow1 even if looked upon 
from a purely human point  of view2 and 
if one adds thought and religious       
sentiment1 then its  interest gains     
tenfold1 as it contains in itself1      
besides the beauty of  form in the nude 
figure1 and the touching sorrow of the  
mother1 the  mystery of the incarnation1
 of the death and of the resurrection of
 our  ,saviour4 ,the subject1 therefore1
 was highly artistic1 exquisitely       
touching1 and particularly well adapted 
to a ,christian sepulchre4 ,but  with   
all these admirable qualities1 the      
rendering of the subject was  extremely 
difficult1 because so many great artists
 of every epoch had  done all they      
could1 in painting as well as in        
sculpture1 to express  this sublime     
idea4 ,wishing to keep myself from doing
 what others had  done before me1 ,i    

thought a long time on this difficult   
theme2 but  cudgel my brains as much as 
,i would1 my conceits always bore the   
impress  of one or other of those many  
groups that one sees everywhere4 ,as the
  gentleman who had given me the        
commission pressed me--in a polite way1 
it is true1 but with some insistence--to
 let him see at least the  sketch1 ,i   
set to work with much ardour1 but with  
little hope of  succeeding4 ,after a    
great deal of study1 ,i made a small    
sketch1 with  which the gentleman       
pronounced himself content1 and ordered 
me to set to  work on it as soon as     
possible4 ,when the stand was ready1 the
 irons put  up1 the clay prepared1 and  
the models had been found1 one of my    
friends1  who had come to look in on me1
 exclaimed on seeing the sketch--       
,sidenote3 ,i ,,abandon ,,the ,,sketch4 
,oh1 what a fine sketch6 ,it is ,michael
 ,angelo's ',piet4'    ,what8 said ,i4  
,oh1 ,i see ,i have made a mistake1 said
 my friend2 it is quite a  different    

thing4    ,but none the less1 this was  
the impression he had received and      
proclaimed1 and1 if not absolutely      
correct1 was yet a sincere1 true1       
spontaneous1 and disinterested one2 for 
my friend1 although far from  being an  
artist1 or even a dilettante1 was very  
intelligent1 and a  lover of art4 ,so   
from that moment my mind was made up1   
and ,i said to  myself--,either ,i will 
find some new idea1 even though it be a 
less  beautiful one1 or ,i will abandon 
the commission4 ,i put by all the       
things that had been prepared1 went to  
work on other work1 and thought  no more
 of it4 ,i ought rather to say that ,i  
thought of it constantly1  perhaps even 
too much2 for it was an irritated1      
futile kind of thinking1  that did harm1
 giving me no rest even during my sleep1
 and not leaving  my mind sufficiently  
free or my inspirations calm enough to  
seize hold  of a new idea and make      
another attempt4    ,sidenote3 ,a       
,,quotation ,,from ,,dante4    ,the     

gentleman who had given me the          
commission still pressed me1 and  could 
not understand why ,i had set aside the 
work after having1 as he  said1 so well 
conceived it1 and after it had met with 
his own approval4  ,to which ,i only    
answered these words1 ,have patience6   
,and so he had1  the poor ,marchese1 for
 ,i must do him the justice to say1 that
 seeing  that this was a painful subject
 to me1 he never spoke to me any more   
about it2 and only when affairs called  
him sometimes to ,florence1 after       
having talked to me about many other    
things1 he would say1 when leaving  me1 
with his usual kind and genial manner1  
,good-bye1 ,nannino1 memento  mei6 ,this
 blessed ,latin in its brevity worked   
upon me more than a long  sermon would  
have done2 but it was useless to try to 
set myself to make  another sketch1 for 
think about it as much as ,i would1     
although in my  brain there were any    
number of mediocre groups of the ,piet1 
there was  still wanting the one of my  

own creation1 for the others belonged to
 me  as some cantos of the ',divina     
,commedia' do by force of memory4 propos
  of this1 here is a curious little     
story4 ,it happened one day when ,i was 
speaking with a man excellent in every  
respect1 that1 being to the  point1 ,i  
quoted the following well-known         
verses3--        ,o voi che siete in    
piccioletta barca1      ,desiderosi     
d'ascoltar1 seguti      ,dietro al mio  
legno che cantando varca1 c4        ,o  
ye who in some pretty little boat1      
,eager to listen1 have been following   
,behind my ship1 that singing sails     
along2#ad    at which that excellent    
gentleman showed himself surprised1 and 
asked if  those verses were mine4 ,i    
looked at him attentively1 and saw in   
his face  that he was perfectly frank1  
serious1 and ingenuous2 and so ,i had   
the  impudence to say ,yes4 ,i regretted
 it afterwards1 and still do so4 ,that  
gentleman died some time ago1 and ,i    
should not have told this joke if he    

had been still living1 for even         
withholding his name1 he might have     
recognised himself and taken it in ill  
part2 but for all this1 ,i repeat1  he  
was an excellent man1 stood high in his 
art1 was professor1  cavaliere1 and     
commendatore of more than one order1 but
 as ignorant1  as it would seem1 of our 
classics as ,i am of the propositions of
 ,euclid4     #ad ,dante1 ,paradiso1    
,canto ii4    ,sidenote3 ,i ,,dream ,,of
 ,,the ,,group ,,of ,,the ,,piet4       
,the reader1 therefore1 understands     
perfectly that ,i did not want to make  
my ,piet a work from memory or of       
imitation1 and give out with a bold     
face another man's conception for my    
own4 ,therefore pazienza1--and  months  
passed1 and it seemed to me as if ,i no 
longer thought of it2 but  one fine day1
 when ,i was at home lying on the sofa  
reading a newspaper1  and waiting to be 
called to dinner1 ,i fell asleep        
7newspapers have  always put me to      
sleep1 especially when they take things 

seriously71--,i  fell asleep1 and ,i    
dreamed of the group of the ,piet just  
as ,i  afterwards made it1 but much more
 beautiful1 more expressive1 and more   
noble4 ,in fact it was a wonderful      
vision1 but only like a flash--a  vision
 only of an instant--for an impression  
as of a blow awoke me1 and  ,i found    
myself lying over the arm of the sofa1  
with my arms hanging  loosely1 my legs  
stiffened out straight1 and my head bent
 on my breast1  just as in my dream ,i  
had seen ,christ on the ,virgin's knees4
 ,i jumped up  and ran to my studio to  
fix the idea in clay4 ,my wife seeing me
 go out  almost running1 called to me to
 say that the soup was on the table4    
,have patience1 ,i answered2 ,i have    
forgotten something at the studio2      
perhaps ,i shall stop there a bit4 ,you 
eat1 and ,i will eat afterwards4    ,the
 poor woman1 ,i could see1 did not      
understand what was the matter1  all the
 more because ,i had been hurrying them 
to send up the dinner2 but  she made no 

more inquiries4 ,it was her nature not  
to enter too much into  the affairs of  
my studio4 ,in two hours ,i had made the
 sketch of that  subject which had cost 
me so much thought1 so many waking      
hours1 and  loss of sleep1 and ,i       
returned home4 ,i do not know whether ,i
 was more  hungry1 tired1 or contented4 
,my wife1 to whom ,i explained the      
reason of  my running away1 smiled and  
said1 ,you might have waited until after
  dinner2 and perhaps1 who knows that   
she was not right8 but ,i was so        
astonished and out of myself on account 
of that strange dream1 that ,i  was     
afraid every instant to lose the        
remembrance of it4 ,it is really a      
strange thing1 that after having thought
 of1 studied1 and sketched this  subject
 for many months1 when ,i was least     
thinking of it 7for then ,i was         
certainly not thinking of it7--all at   
once1 when asleep1 ,i should see so     
clearly stand out before me1 without    
even an uncertain line1 the  composition

 of that group4 ,i have often thought of
 it1 and being obliged  in some way to  
explain it1 ,i should say that the      
position ,i took when  asleep might have
 acted on my over-excited imagination1  
always fixed on  that same idea4        
,sidenote3 ,i ,,sketch ,,it ,,at ,,once4
    ,if the reader has followed me so   
far1 he may truly be called courteous2  
but who knows how many times he has     
looked with avidity in these pages1     
full of minute details of my doings1 for
 some little facts1 some little         
escapades which really define and give  
the impress of the moral  character of a
 man1 and not having found it1 has      
closed the book with  irritation1 and   
has muttered between his teeth1 ,this   
man is really very  stupid1 or he       
imagines us to be such simpletons as to 
believe that his  life has always run on
 in a smooth1 pleasant path1 where there
 are no  stones to stumble over1 or     
brambles to be caught by8 ,i will not   
judge  if the reader be right or wrong  

in his reasoning1 but it would be as    
wrong to think that my life had been    
perfectly exempt from the little        
wretchednesses that are as inherent to  
it as smoke to a fire1 especially  if   
the wood be green1 as it would be to    
require for his own satisfaction  that  
,i should ostentatiously insist on this 
smoke at the risk of  offending the     
tender and chaste eyes of those who1    
albeit not ignoring  these things1 love 
the light and abhor smoke4 ,then1 also1 
in speaking of  these little            
wretchednesses1 one always errs1 however
 faithful to the  truth1 in saying      
either too much or too little2 and it is
 believed to be  either exaggerated or  
underrated1 according to the simplicity 
or malice  of the reader3 so it is      
better not to speak of them at all4     
,these little  details1 these little    
moral wrinkles1 ought to be cast aside1 
as they do  not add an atom to the      
likeness of the person4 ,the reader can 
imagine  them1 or1 to speak plainer1 he 

learns them from the voice of common    
report1 which accompanies through life  
the acts of any man not  absolutely     
obscure4 ,but if in life there are      
brambles and pebbles that  can          
momentarily molest the poor pilgrim1    
there are also errors and  deviations   
which lead us astray4 ,grave misfortunes
 such as these1 by  ,god's mercy1 ,i    
have not met with1 although the danger  
has not been  wanting4 ,the least       
thought of the gentle nature of my good 
wife1 so full  of simplicity and truth1 
her deep and serious affection1 her     
loving care  of her children1 and her   
total abnegation of self for them and   
for  me1--this thought1 ,i repeat1 was  
enough1 with ,god's help1 to enable me  
to escape once or twice from danger2 and
 ,i wish to say this1 that the  reader  
fond of suchlike particulars need not   
tire himself with looking  for them     
here1 where he will not find them4      
,sidenote3 ,,dangers ,,of ,,going       
,,astray4    ,in the moral character of 

a man1 deviation from and forgetfulness 
of  his duties is an ugly stain1 even   
uglier than deformity in art4 ,in fact1 
deformity1 which by itself alone is     
contrary to art1 when introduced  into  
composition1 especially when historical 
or critical reasons require  it1 can be 
of use as a contrast1 and be--not       
beautiful in itself1 for  that would be 
a contradiction of terms--but of use to 
the ensemble1  and to the               
beautiful1--as1 for example1 the        
dissonances in harmony used  sparingly1 
if they suspend momentarily the flow of 
that broad sweet  wave1 they make one   
hear it again more vividly1 more        
unexpectedly1 and  transformed into     
other colour and form4 ,if all this     
concerns and is of  use to ,art1 which  
is the manifestation of the beautiful1  
it does not  apply to morals1 which are 
the manifestation and practice of ,good4
 ,the  one is relative1 but this is     
absolute4 ,the well-known aphorism1     
,truth  before all things1 lands one    

nowhere2 and ,i have shown that in being
  silent on some matters1 one need not  
be false to her4 ,but she is only  cast 
into a slight shadow by these veils of  
decency and modesty2 and so  ,truth     
should show her matronly bearing4       
,sidenote3 ,,advantage ,,of             
,,dissonance4    ,i have spoken somewhat
 at length about this1 because to some  
this  exposition of my opinion may have 
appeared unseemly4 ,let them accept1    
then1 with a kindly feeling1 the        
reasons1 which ,i think excellent ones1 
that have led me to this wise decision  
of representing the truth to each  and  
every one's eyes in the most appropriate
 way1 so that1 while it  attracts by the
 largeness and uprightness of its form1 
it leaves the  spirit undisturbed and   
tranquil4    ,i set to work on the model
 of the ,piet with a feeling of         
assurance  devoid of any of those       
outlooks of fallacious hope that so     
often preside  over and accompany a work
 badly conceived and not sufficiently   

studied  or thought out1 with which the 
unsatisfied mind seeks to quiet itself1 
while the artist goes on persuading     
himself that he will better his idea  as
 his work goes on1 instead of which he  
finds out every day more and  more the  
existence of those difficulties and     
doubts which increase in  intensity as  
the strength to overcome them           
diminishes4 ,and propos of  this1 ,i    
remember one day when ,i was making an  
excursion from ,florence to             
,sant',andrea1 with ,bartolini 7it was  
on a ,saturday1 to stay over until      
,sunday evening at ,villa ,fenzi71 as we
 travelled along ,bartolini seemed  to  
me gayer and more expansive than usual1 
and having asked him what was  the      
reason1 he would not tell me1 but       
answered1 ,you will know why at         
,sant',andrea2 ,i am going to tell at   
dinner when every one is present1 for   
it is a thing of great importance1 as   
you will be able to judge perhaps       
better than any one else4 ,with these   

words he so roused my curiosity  that it
 made that very short expedition seem a 
long one4 ,arrived at the  ,villa1 ,sor 
,emanuele1 seeing the master so gay and 
almost beaming1  turned to him and      
jokingly said these words1 ,i'll be     
bound you have  found a new and         
beautiful little model4    ,sidenote3   
,,bartolini ,,and ,,the ,,astyanax4     
,no2 and even those ,i have--and they   
are beauties--,i sent off this very     
morning4 ,but ,i am contented1 because  
,i had a thorn in my side--a thought    
that had been tormenting me for more    
than a year4 ,there was one side of  my 
group--the ,astyanax--that ,i did not   
like4 ,i have tried various ways  of    
correcting it1 but in vain2 for the evil
 was fundamental4 ,i have  formed a     
resolution1 and ordered my work to be   
pulled to pieces4 ,i have  sacrificed   
more than a year's time1 but ,i am      
certain that ,i shall be the  gainer1   
because the work will come better both  
as to lines and the  quickness of       

execution4 ,i feel sure that the change 
is a good one4    ,whoever is an artist 
understands the importance of such an   
act1 and the  courage of a man who      
destroys a work that has cost him more  
than a  year's labour1 and admonishes   
those who are too quick in putting an   
undigested thought into execution4      
,sidenote3 ,i ,,get ,,ill ,,and         
,,nervous4    ,as for me1 ,i felt an    
admiration as much for that heroic      
resolution as  for his gaiety and       
indifference1 and was persuaded that    
only men of such  a temperament know how
 to act and comport themselves in that  
fashion4    ,i set to work1 as ,i have  
said1 on the group of the ,piet2 and    
although  the novelty of the idea and   
harmony of lines gave me every reason to
  hope for success in my work1 yet the  
impetuosity with which ,i had gone  to  
work1 the difficulty of giving the      
expression to the ,virgin's face in     
contrast with the divine stillness of   
the dead ,jesus1 impossible to find  in 

models--for the most part the negation  
of all that is sublime in               
expression1--all this acted so upon my  
poor brain that ,i began to hear        
noises1 which gradually increased to    
such an intensity that they  deafened   
me1 and ,i had to stop working1 not     
being able to go on4 ,the  thought of my
 weakness worked upon me so violently   
that it produced  melancholy1 insomnia1 
and aversion to food4 ,my good friend   
,dr ,alberti1  who treated me1 advised  
rest from work and distraction1--but of 
what  kind1 as everything bored me8     
,night and day ,i continually felt      
stunned  by a buzzing noise in my head1 
which was most annoying2 and what is    
worse1 sounds1 noises1 and voices1 even 
of the most moderate kind1  became      
insufferable to me4 ,a coachman smacking
 his whip put me in a  tremor1 and ,i   
ran at the sight of him4 ,at home my    
poor wife and my  little girls were     
obliged to speak in the lowest voice1   
and oftentimes  by signs4 ,as ,i have   

said1 sleep had left me1 and all taste  
for food1 and  ,i grew thinner before   
one's very eyes4 ,i could not read two  
consecutive  pages1 and could not dream 
of writing4 ,i used to go out of the    
house to  escape melancholy1 and walk   
for a long distance at a time without   
knowing where ,i was going4 ,the buzzing
 in my head and the noise in the  street
 tortured me4 ,if ,i saw any one ,i     
knew1 ,i avoided him1 not to be  obliged
 to answer the same tiresome question as
 to how ,i felt4 ,if ,i went  to the    
studio1 my melancholy turned into acute 
pain on looking at my  works which ,i   
could not begin to touch1 and ,i felt my
 heart throb so  hard that ,i cried most
 bitterly4    ,sidenote3 ,i ,,return    
,,to ,,naples4    ,i could not continue 
on in this condition1 and by advice of  
the doctor ,i  resolved to go with my   
family to ,naples4 ,i hoped to recover  
my health in  that great gay city1 under
 that splendid sky1 in that mild        
atmosphere  pure and impregnated with   

life1 and my hope was strengthened by   
the  remembrance that ,i had once       
recovered my health there ten years     
before4  ,i left on the morning of the  
,epiphany1 the #fth of ,january #ahfc1  
and that  night ,i spent at ,rome at the
 ,hotel ,cesari4 ,i did not stop in     
,rome1 and  saw no one4 ,i saw          
mechanically--more than anything else1  
to amuse my  poor family--the finest    
monuments of the ,eternal ,city2 and the
 day after  took the road to ,naples--a 
true via crucis1 by which ,i hoped to   
regain  my health4 ,we arrived in       
,naples between eight and ten o'clock4  
,i ordered  the coachman to take us to  
the ,hotel de ,france4 ,there was no    
room to be  had1 so we were conducted to
 a poor1 dirty little inn1 with which1  
being  late1 we were obliged to content 
ourselves4 ,the day following1 my friend
  ,giuseppe ,mancinelli insisted 7in    
spite of my opposition1 not wishing to  
inconvenience him7 that we should lodge 
in his house1 ,rampa ,san ,potito1  near

 the ,museum degli ,studii4             
,mancinelli was an excellent man1 an    
artist of merit1 a good husband and     
father1 and a conscientious and amiable 
master at the ,academy of ,fine  ,arts  
there4 ,i remember with emotion the     
fraternal care that he took of  us4     
,poor friend6 you too have left us1 but 
the memory of your virtues  and love    
still lives with us1 and is a           
consolation to us in the midst of  the  
coldness of so many who have never known
 the religion of friendship1  or who1 if
 they appeared devoted1 only sought to  
steal the candles  offered by the       
faithful to her altar4    ,sidenote3    
,,celentano4    ,the first days after my
 arrival at ,naples were very sad4 ,the 
noises and  voices in that immense city 
nearly drove me out of my mind1 added to
  which the weather was wretched--for we
 had nearly a month of rain--so  there  
were no walks to be taken1 and nothing  
to distract me4 ,fortunately  ,i had all
 my family with me1 and my thoughts were

 not in ,florence1 as  they had been    
during my former visit4 ,i gave no      
thought to my studio1  and only1 as if  
in a vision1 the head of my ,madonna    
appeared to me in  the sad pose in which
 ,i had left her1 fearing that ,i should
 never see  her again4 ,in vain         
,mancinelli and his family1 and my      
friends ,morelli1  ,aloysio1            
,maldarelli1 ,palizzi1 and others1 tried
 to rouse me out of my  despondency4    
,how well ,i remember with what pains   
poor ,celentano1 whom ,i  then knew for 
the first time1 tried to cheer me up6   
,poor ,celentano6  brightest light of   
that fine school that searches for and  
finds material  in the universe of      
nature to embody the fantasies of the   
brain1 how  soon1 and in what a manner1 
your light was extinguished6            
,enough--enough of the dead1 otherwise  
,i shall fall into the elegiac1  which  
would be ridiculous in these simple     
memoirs6 ,but if it be true  that every 
thought must be clothed in its own      

special garb1 how sad is  that of death1
 although through her veils shines the  
hope of heaven6          ,,chapter      
,,xix4         ,a ,,prophetic           
,,dream--,,giovanni ,,strazza--,,signor 
,,vonwiller ,,and       ,,societies     
,,for ,,promoting ,,art--,,return ,,from
 ,,naples ,,to ,,rome1 ,,and ,,my       
,,daughter ,,luisina',s ,,illness--,,our
 ,,return ,,to ,,florence--,,death ,,of 
,,tria ,,the ,,model--,,the ,,mossotti  
,,monument ,,at ,,pisa--,,how ,,it ,,was
 ,,that       ,i ,,did ,,not ,,make     
,,the ,,portrait ,,of ,,his ,,majesty   
,,the ,,king--,,the       ,,competition 
,,for ,,cavour',s ,,monument--,i ,,go   
,,to ,,turin ,,to ,,pass                
,,judgment ,,on ,,it--,,the ,,christ    
,,after ,,the ,,resurrection1 ,a        
,,commission ,,of ,,signor ,,filippi    
,,di ,,buti--,,religious ,,art ,,and    
,,alessandro ,,manzoni ,,and ,,gino     
,,capponi--,,thought ,,is ,,not         
,,free--,,cavour',s ,,monument--,,the   
,,description ,,of ,,it4      ,sidenote3

 ,,visconti ,,the ,,painter4    ,and yet
 ,i do not feel in the vein to stop     
talking of the dead4 ,it is so  sweet to
 go back in memory to those dear persons
 that we have loved and  esteemed1 and  
who have returned our love4 ,one day in 
,rome--it was in the  summer of         
#ahfd--;a young painter of the brightest
 promise had received a  letter from his
 betrothed1 who was a long way off4 ,in 
it she expressed  the great anxiety she 
had been suffering on account of a dream
 she had  had1 in which she had seen her
 dear one drowning2 and she beseeched   
him  in the warmest manner to pay       
attention and not expose himself to     
danger4  ,the ingenuousness and         
affection in this letter made the young 
painter  smile1 and in his answer he    
jokingly expressed himself as follows3  
,with  regard to your dream1 set your   
mind at rest1 because if ,i don't drown 
myself in wine1 ,i shall certainly not  
drown in water4 ,a few days after  this 
some of his friends proposed to him to  

go and bathe1 but he refused  decidedly1
 and said1 ,go1 the rest of you2 ,i     
don't want to bathe1 and  shall go home1
 and he left them4 ,shortly after this  
his friends went1  as they had decided1 
to bathe1 and they saw a young fellow   
struggling in  the water2 recognising   
him1 they at once undressed and ran to  
his  rescue1 as it was evident that he  
did not know how to swim4 ,their        
attempt1 as well as that of others1 was 
vain1 for the poor young man  went down 
and was carried away by the current of  
the ,tiber to a great  distance from the
 spot where he had thrown himself in4   
,this young man  was universally and    
sincerely regretted4 ,painting lost in  
him one of her  brightest geniuses1 and 
,siena1 his birthplace1 a son that would
 have  been a very great honour to her4 
,some studies sent by him to ,siena1 and
  a picture of ,san ,luigi in the       
,church of the ,madonna del ,soccorso at
  ,leghorn1 bear witness to ,visconti's 
talent1 a name dear and revered  amongst

 all artists4 ,he studied at the        
,sienese ,academy1 under ,luigi         
,mussini1 who1 besides his sound        
principles in art1 had the power of     
being able to communicate them1 and     
carried persuasion and conviction       
through the weight of example4 ,visconti
 was buried in ,rome in the ,church  of 
,san ,bartolommeo all',isola1#ae a short
 distance from the place where  his body
 was found1 and ,siena honoured him by  
having a modest but  touching monument  
made by his friend ,tito ,sarrocchi and 
placed for him  in the ,church of ,san  
,domenico4 ,visconti was a handsome     
young man1  healthy and strong1 of olive
 complexion1 black hair and beard1      
endowed  with an open1 frank1 loyal1 and
 at the same time modest1 nature4       
#ae ,poor ,visconti is not buried in the
 ,church of ,san    ,bartolommeo        
all',isola4 ,my friend ,majoli tells me 
that ,i have made a    mistake4 ,his    
body was taken there1 as it was found   
near there1 and the    funeral took     

place in that church2 but the body was  
taken afterwards to    the ,campo       
,verano1 and buried in the lower part of
 that cemetery4 ,a    modest little     
monument called a ,pincietto was erected
 over it by the    subscription of      
several sorrowing and affectionate      
friends1 and amongst    these the good  
,majoli1 who most particularly exerted  
himself in    modelling and cutting a   
portrait of him in marble1 and offering 
his work    as a tribute of friendship4 
,sidenote3 ,,giovanni ,,strazza4    ,i  
return to the living1 ,i return to      
,naples4 ,about this time the           
competition for the statue of ,victory1 
as a monument for the martyrs of  the   
four revolutions1 #ahba1 #ahca1 #ahdh1  
and #ahfj1 was to be decided on4  ,many 
were those competing for it1 and all    
,neapolitans--amongst these             
,pasquarelli and ,caggiano1 pupils of   
mine2 and for this reason1 as well  as  
on account of my ill health1 ,i could   
not accept the position of  judge4      

,giovanni ,strazza was therefore invited
 to come from ,milan2 and he  too died a
 few months ago1 my poor friend6 ,he had
 a very cultivated  mind1 and was as    
amiable and polished in manner as he    
could be4 ,i knew  him first in ,rome in
 #ahdd1 when he was very young1 and when
 artists1  amateurs1 and all people     
crowded round his first statue of       
,ishmael4 ,to  all1 as well as to me1 he
 was open-hearted1 loyal1 and sincere1  
and his  words were always urbane and   
pleasant4 ,i saw him again at ,vienna in
  #ahgc1 when he was my companion in the
 jury for our section of sculpture  at  
the great exhibition4 ,but let us really
 return to the living1 if that  be      
possible4    ,the prize for the statue  
of ,victory was adjudicated to ,emanuele
  ,caggiano1 and justly so4 ,i think    
this statue is one of his finest works4 
,i have heard nothing of him now for a  
long time1 and am afraid that he  does  
not occupy himself with the same fervour
 that he displayed when he  began to    

work under my direction4    ,i revisited
 all the things that ,i had seen the    
first time ,i was in  ,naples1 with a   
feeling of ennui1 and only gave some    
attention to  ,pompeii1 because there ,i
 had the good fortune to meet the       
,commendatore  ,fiorelli1 director of   
the excavations1 and some artists that  
,i have  forgotten4 ,i remember1        
however1 the brotherly solicitude shown 
me by my  friends ,morelli and ,palizzi1
 and this time even by ,angelini1 and   
the  particular courtesy of ,signor     
,vonwiller1 a most cultivated man1 and  
so  great a lover of art that he has    
converted his house into a real modern  
and most select gallery4 ,here one finds
 in perfect harmony all the best        
products of ,italian art4 ,at that time 
7and many years have since passed7  the 
pictures of ,morelli1 ,celentano1       
,altamura1 ,palizzi1 and other clever   
painters of that beautiful school1 were 
admirably exhibited2 there too1  ,vela1 
,magni1 ,angelini1 and ,fedi had works2 

and in the midst of these ,i  felt      
honoured also to find myself represented
 by my two statues of  ,bacchini1 the   
,festante and the ,dolente4 ,if every   
city in ,italy had a  gentleman like    
,vonwiller1 it may easily be believed   
that art would  derive great benefit    
from it2 for taste backed by great      
fortunes has  more direct and potent    
efficacy than all the societies for     
promoting  art1 where1 with small sips  
and small prizes1 the genius of poor    
artists  is frittered away4 ,until the  
day when these societies make the heroic
  resolution of only conferring two or  
three prizes 7be it for pictures or     
statues of small dimensions2 the size   
does not matter1 as long as they  are   
really beautiful71 art will not advance 
one step4 ,but in the  meanwhile1 let us
 take things as they are and push on4   
,sidenote3 ,,signor ,,vonwiller',s      
,,gallery4    ,the repose and the balmy 
airs of beautiful hospitable ,naples    
worked a  wonderful change for the      

better in my health4 ,sleep1 that       
beneficent  restorer of the forces1     
which for some time past had gone from  
me1  verily without my having murdered  
it1 as ,macbeth had1 or even in the     
least offended it1 returned with its    
blandishments and its calm smiling      
visions full of pleasant happy memories4
 ,it was the season of the year  when   
nature dons again her green mantle4 ,in 
that happy country1 her  awakening is   
more precocious1 and one could say that 
nature was there a  very early riser2   
and whilst the mountains were still all 
covered with  snow1 on those sweet      
slopes1 on those enchanted shores1 the  
little green  new-born leaflets mix with
 the blossoms of the apple1 almond1 and 
peach  trees4 ,the light morning breeze 
makes these leaflets and blossoms       
tremble1 and wafts to the air a sweet   
delicate perfume1 that revives the  body
 and rejoices the spirit4    ,sidenote3 
,,the ,,charm ,,of ,,spring4    ,this   
reawakening of nature has in it ,i know 

not what of harmony that is  difficult  
to describe4 ,it seems as if the chest  
expanded to drink in the  air with      
unusual longing2 the eyes are never     
weary of looking again at  the budding  
flowerets1 whose odour one inhales with 
a chaste  voluptuousness1 as of the     
breath of our children in their mother's
 arms4  ,the mysterious wave of life1   
that insinuates itself in the earth1    
penetrating even into its most          
infinitesimal parts1 that prepares the  
nuptial bed1 and makes the budding      
vegetation fruitful2 the wave1 that  in 
the profound depths of the sea gladdens 
the life of its mute  inhabitants1 gives
 joy and swiftness to the flight of the 
birds in the  air1 makes the animals of 
the earth walk with more erect1 ready1  
and  joyful step1--the wave of life1    
more than all1 operates wonderfully on  
man4 ,and ,i--,i felt myself born unto a
 new life2 nature seemed to me more     
beautiful1 her bounty more desirable2   
the wish to observe and to work         

returned to me1 the enjoyment of        
conversation1 attention in listening1   
temperance in discussions1 and courtesy 
in controversies1 all impulses  of the  
mind1 wherein1 it seems to me1 lies the 
mysterious harmony of  body and soul in 
perfect union--mens sana in corpore     
sano4    ,sidenote3 ,,illness ,,of      
,,luisina4    ,having therefore         
recovered my health1 and taken leave of 
my friend  ,mancinelli and his good     
family1 ,i again left for ,rome1 with   
the  intention of passing the           
approaching ,holy ,week there2 but it so
 happened  that my poor ,luisina1 the   
youngest of my daughters1 fell ill4     
,some  symptoms of her illness had      
already manifested themselves in the    
first  days after our arrival2 then she 
had to take to her bed1 and became so   
much worse1 that we were all in the     
greatest anxiety--two months of such    
anxiety as only a father can understand2
 and she was so sweet a  creature1 and  
so intelligent6 ,then she improved a    

little1 but did not  recover4 ,we left  
hurriedly1 because the bitterness of    
losing her away  from home was          
unbearable to us4 ,the affectionate     
solicitude of our  friends at this      
juncture was really brotherly4 ,majoli1 
,marchetti1  ,mantovani1 ,wolf1 and     
,tenerani came forward and showed us    
indescribable  kindness1 and ,i remember
 it with gratitude1 that no time can    
ever efface  or weaken4    ,after our   
return to ,florence1 under treatment the
 disease seemed to have  been got under2
 she recovered her health1 and we       
thought no more about  it4    ,i took up
 my studio life again4 ,as ,i stood     
before my work that ,i had  left when in
 a state of such utter prostration1 it  
seemed to me that ,i  had almost a new  
spirit within me4 ,the head of the      
,madonna1 who1 when ,i  left1 looked as 
if she was sorrowing for me1 now seemed 
to me so full of  sadness that ,i did   
not touch it again1 and it remains just 
as it was  when ,i left1 tormented by   

the insupportable1 atrocious1 and       
stunning  noise in my head4 ,tears of   
emotion1 of gratitude1 and of feeling   
ran  down my cheeks as ,i stood before  
the clay1 and1 full of confidence1 ,i   
set myself again to work4 ,in thought ,i
 returned to the days of my  sufferings1
 when the fear of losing my mind        
frightened me1 and ,i dared  not look at
 my children or at my good wife4 ,these 
remembrances quickened  the pleasure ,i 
felt in my new state of health1 and ,i  
thanked the ,lord  from the bottom of my
 heart4    ,sidenote3 ,,tria1 ,,the     
,,model ,,of ,,my ,,christ4    ,i had   
taken ,tonino ,liverani 7nick-named     
,tria7 as a model for my  ,christ4 ,he  
was rather too old for a ,christ1 but ,i
 was not able to  find another who      
united such majesty and grace of        
movement and of parts4  ,hardly had ,i  
put the whole masses together and begun 
to define some of  the outlines1 when he
 fell ill and died in a few days4 ,i    
went to see him  when he was at his     

worst1 and the poor man was glad to see 
me1 and was  pained 7as he said7 not to 
be able to finish the ,dead ,christ4    
,with his  deep sunk eyes1 mouth half   
opened1 and with the pallor of death    
upon  him1 he looked marvellously       
beautiful1 and strangely like that type 
of  ,christ that good artists of the    
fourteenth and fifteenth centuries have 
handed down to us4 ,poor ,tria1 ,i still
 remember the long1 piteous look  you   
gave me when we bade each other         
good-bye6    ,scarcely had ,i finished  
the model for the ,piet1 when ,i        
modelled the  statue of ,astronomy for  
the ,mossotti monument1 which is in the 
,campo  ,santo at ,pisa1 a work that ,i 
had pledged myself to make for its mere 
cost2 and ,i did so most willingly on   
account of the reverent friendship  that
 ,i had had for ,mossotti4 ,but even the
 expenses were not covered1 and  to all 
my pressing inquiries ,i never got a    
word of answer from the  treasurer of   
the committee1 in consequence of which  

the committee itself  was never able to 
publish a report of its administration4 
,but1 that the  word expenses may be    
clearly understood1 ,i wish it to be    
known that  that statue1 with its       
sarcophagus1 base1 and ornamentation1 ,i
 had  pledged myself to make1 and did   
make1 for six thousand lire4 ,i have    
received five thousand eight hundred and
 fifty2 there remain the  hundred and   
fifty1 which ,i am obliged to make a    
present of1 after  having given         
gratuitously my work on the models and  
the finishing of it  in marble4 ,i don't
 know if it is so with other artists1   
but with me it  has always happened that
 the works ,i have been desirous of     
making for  their mere cost--which is   
like saying1 as a present--have not been
  accepted1 or1 besides giving my own   
work1 ,i have been obliged to add       
something from my pocket6 ,before these 
memoirs are finished the reader  will   
find something else of the same kind    
which will serve as a lesson  and       

warning to young artists1 even if they  
ever feel within them the  softness to  
work for nothing4    ,sidenote3 ,,bust  
,,of ,,victor ,,emmanuel4    ,in another
 place ,i have said that1 in the        
enumeration of my works1 ,i  should not 
make mention of the portraits4 ,i was   
obliged1 however1 to  deviate from that 
promise to speak of one that had        
occasioned a great  deal of talk and    
false reports about me4 ,i must now     
speak of another  that ,i was to have   
made1 and did not--that is to say1 the  
portrait of  his ,majesty ,king ,victor 
,emmanuel4 ,why ,i never made it ,i     
cannot say  myself1 and perhaps the     
reader himself will not know after he   
has read  the following account1 unless 
he is satisfied with the explanation    
that  ,i shall presently give4    ,the  
,superintendent of the ,archives1       
,commendatore ,francesco ,bonaini1      
after having put in order and nearly    
reconstructed the archives of ,pisa1    
wished to put in the main hall a marble 

bust1 of almost colossal size1  of      
,victor ,emmanuel2 and in order to      
determine the size and study the  light1
 ,i went with him to ,pisa to see the   
place itself where the bust  of the     
,king was to stand4 ,having seen it and 
fixed upon the size of the  bust1 ,i    
made one condition1 agreeing to all     
arrangements as to price and  time for  
making it4 ,the condition that ,i       
made--a most natural one--was  that his 
,majesty should concede to me the       
sittings required1 that ,i  might model 
him from life and not from photograph4  
,the syndic of the day  7,cavaliere     
,senatore ,ruschi1 if my memory serves  
me7 went to ,florence1  accompanied by  
some of the assessori1 to ask the ,king1
 first for the  permission of placing   
his portrait in the ,great ,hall of the 
,pisan  ,archives1 and then to grant the
 necessary sittings to the artist1 and  
settle the place1 the time1 and the     
length of the sittings1 according to    
his ,majesty's pleasure4 ,both the one  

request and the other were granted  most
 graciously by the ,king with his usual 
affability1 and he added that  he knew  
the artist and was well satisfied1 and  
that1 in the meanwhile1  they were to   
wait for notice to communicate to me    
that ,i might begin my  work4 ,months   
passed1 and this notice never came2     
,bonaini was pressing  me1 being in a   
hurry to have the archives inaugurated1 
and ,i appealed to  his ,excellency     
,marchese di ,breme1 ,minister of the   
,royal ,house1 to beg  the ,king to let 
me have the required sittings1 but my   
request met with  no good result4       
,later1 after the death of ,di ,breme1  
,i made the same  appeal to the         
,marchese ,filippo ,gualterio1 who      
succeeded him in that  office2 but this 
appeal not only had no good result1 but 
did not even  receive an answer4 ,as the
 affair of the inauguration of the      
,pisan  ,archives had boiled over1      
,bonaini did not speak of it again1 and 
naturally neither did ,i4 ,here there   

would be some observations to be  made  
on this favour having been asked for and
 granted1 and then given  up4 ,as for   
me1 ,i resolve the question in a few    
simple words and say1  that as it is a  
most boring thing to all to stand as    
model1 for a king  it must be           
excessively so and insufferable1 and    
therefore the notice to  begin this     
boring business never came from the     
person who was to undergo  it2 and it is
 reasonable enough1 and even satisfies  
me1 who have posed  as model two or     
three times4    ,sidenote3 ,,jury ,,of  
,,artists ,,on ,,cavour',s ,,monument4  
,about this time the ,syndic of ,turin  
invited me to form part of a  commission
 of artists to pass judgment on the     
models sent up for  ,cavour's monument4 
,i was then at ,leghorn with my family1 
as my little  girls were in need of     
sea-bathing4 ,i had no need for it      
myself1 and1 in  fact1 ,i think that the
 damp salt air was not good for me1 and 
,i stayed  there most unwillingly1 so   

that when the invitation to go to ,turin
 came  ,i instantly accepted it with    
pleasure as a fortunate opportunity to  
change the air and have something to    
occupy my mind2 and leaving my wife     
with the two youngest little girls1 ,i  
took ,amalia with me4    ,this          
competition1 of which we were to judge1 
was a second trial1 as the  first had   
failed2 the competitors were many1 and  
some of them  praiseworthy4 ,my         
colleagues in the jury were1 if ,i      
remember right1 the  ,professors ,santo 
,varni of ,genoa1 ,innocenzo ,fraccaroli
 of ,milan1 ,ceppi of  ,turin1 and      
another whose name ,i cannot recall4    
,the examination was a  long one1 and   
the discussion1 although opinions       
differed1 was a quiet  one3 the majority
 pronounced itself favourable to a      
project of the  architect ,cipolla1     
which was in drawing2 my vote had been  
for one of the  two designs in relief by
 ,vela4 ,the reporter of our decision   
was  ,professor ,ceppi4 ,i returned to  

,leghorn to my family1 and from there to
  ,florence1 where ,i again took up my  
work4    ,signor ,ferdinando ,filippi di
 ,buti1 whom ,i had met at ,leghorn1    
showed  himself desirous of having a    
statue of mine to put in the mortuary   
chapel that he had built from its very  
foundation close to one of his  villas  
on the pleasant hill that rises above   
the town4 ,the subject was a  beautiful 
one1 and1 after the ,dead ,christ1 ,i   
could not have desired  anything better 
to make than ,christ after the          
,resurrection1 and this  was the very   
subject that ,signor ,filippi wanted of 
me4    ,sidenote3 ,,importance ,,of     
,,religious ,,sentiment4    ,the        
,triumph of the ,cross1 the ,madonna    
,addolorata that ,i spoke of  further   
back1 the ,piet1 and this ,christ after 
the ,resurrection1 are  the strictly    
religious subjects that ,i have         
made--rather1 that ,i have  had the good
 fortune to make1 because ,i believe    
that such subjects1  always beautiful in

 themselves1 when they find the soul of 
the artist  disposed to feel them and   
comprehend them1 are also capable of    
high  serene inspiration1 and secret    
efficacy to the soul of those who behold
  them1 be they in spirit even thousands
 of miles distant from the number  of   
believers4    ,let the truth prevail4   
,religious sentiment has its root in the
 heart1 in  the intellect1 in the       
imagination1 and1 in a word1 in all the 
impulses  of the soul4 ,a heart without 
,god is a heart without love1 and will  
not  love woman but for the brutal      
pleasure she procures1 and1 in          
consequence1 not even the children that 
are the fruit of1 and also a  burden    
upon1 his selfishness4 ,he will not love
 his country except for  the honours and
 the gain that can be got out of it1 and
 will sacrifice  it carelessly for a    
single moment of pleasure or interest1  
because a  heart without ,god is a heart
 without love4 ,an intelligence without 
the  knowledge of ,god is wanting in a  

basis as starting-point for all its     
reasoning--it is without the light that 
should illumine the objects it  takes   
hold of to examine4 ,such an intellect  
is circumscribed within the  narrow     
circle of things perceptible to the     
senses1 where1 finding  nothing but     
aridness wherein to quench its burning  
thirst1 which is  always insatiate for  
goodness and truth1 it ends either in a 
fierce  desire of suicide1 or as a      
vengeance of nature's own in that       
saddest of  nights1 madness4 ,an        
imagination deprived of the splendid    
visions of the  supersensible1 loses    
even its true functions1 because1 not   
seeing or  divining through time and    
space1 through life and death1 in the   
stars  and in the atoms1 anything but a 
casual mechanism1 it is cruelly         
condemned to inertia1 and with clipped  
wings can no longer sustain its         
flight--those wings which so potently   
upheld ,dante as he passed from  planet 
to planet1 leaving the earth down in    

depths far beneath him4 ,the  eye       
accustomed to matter is besmeared with  
mud1 and can no longer bear  the bright 
light of the sun and the planets1 which 
seem as if they were  the eyes of ,god4 
,sidenote3 ,,religious ,,sentiment4     
,religious sentiment has existed in all 
times1 amongst all people1 and it       
exists in the conscience of man         
independent of all education and        
example4 ,the immense vault of the      
heavens2 the innumerable planets        
resplendent in light2 the sun that      
illuminates1 warms1 and fertilises  the 
earth2 the expanse of the waters of the 
sea2 the prodigious variety  and beauty 
of animals1 plants1 and fruits2 the     
loveliness of colours1  harmony of      
sounds from everywhere1 and for all our 
senses1--come to us  as the proof of    
,god4 ,but more even than from exterior 
things we feel it  within ourselves4    
,the blood shed by the martyrs fighting 
for the faith2  life given in large     
profusion for the defence of country1   

liberty1 and  honour1 or our women and  
children2 active indignation against    
tyranny1  cowardliness1 and injustice2  
the tender charm we feel for innocence1 
admiration for virtue1 and charity      
towards the poor1 orphans1 and those  in
 trouble1--all these are signs that ,god
 has placed within us a part of  ,his   
very nature4 ,we feel within us the     
impulses of charity1 and in  prayer we  
feel our heart expand with hope2 out of 
frailty we fall1 and  faith renews in us
 the strength to rise again4 ,religious 
sentiment makes  the heart glow1        
illuminates the intellect1 fertilises   
the imagination1  and creates not only  
the good citizen and good father1 but   
also the  artist4    ,sidenote3 ,,visit 
,,of ,,manzoni4    ,our hundred         
basilicas1 the paintings and statues of 
our ,christian  artists that ,italy and 
the world is so rich in1 bear witness to
 this  tribunal of truth to which       
anxious humanity1 even from its earliest
  days1 appeals4 ,phidias1 ,homer1      

,dante and ,michael ,angelo1            
,brunellesco and  ,orgagna1 ,raphael and
 ,leonardo1 ,donatello and ,ghiberti1   
and a hundred  others1 prove that       
religious inspiration is of so large a  
source that  one can always draw from   
it2 and although in the application of  
it the  form may in a measure vary1 yet 
it will always be great and admirable1  
because the mind that lifts itself up1  
though it may deviate more or  less     
salient in curves1 will always remain   
elevated4 ,correggio and  ,bernini1     
,guido ,reni and the ,caracci1 were     
under the bad influence of  their time  
as to method1 but the intention was     
always good4 ,and coming  down to our   
recent fathers1 and speaking always of  
artists1 were ,canova1  ,rossini1 and   
,manzoni not great1 for the very reason 
that they took their  inspiration from  
religious subjects8    ,as the venerated
 name of ,manzoni has fallen from my    
pen1 ,i shall  describe the visit that  
he made to my studio4 ,when his visit   

was  announced to me1 ,i had but just   
finished the bas-relief for ,santa      
,croce  and the ,piet4 ,he was in       
company with the ,marchese ,gino        
,capponi1  ,aleardi1 and ,professor     
,giovan ,battista ,giorgini4 ,after     
having seen  several of my works1 he    
stopped before the model in plaster of  
the  bas-relief for ,santa ,croce1 and  
said--    ,sidenote3 ,,the ,,power ,,of 
,,faith4    ,i see here a vast subject  
that speaks to me of lofty things2 it   
seems  to me that in parts ,i can divine
 its meaning1 but ,i should wish to hear
  the artist himself speak and explain  
his entire intention4    ,it is always  
unwillingly that ,i act as cicerone to  
my very poor  works--and to say the     
truth1 ,i only do so most rarely with my
 intimate  friends in order to ask some 
advice2 but the abrupt request made by  
such  a man as he was did not displease 
me1 and ,i began my explanation4 ,but   
after ,i had been talking a few minutes1
 ,marchese ,gino ,capponi began to      

stammer out something full of emotion in
 his sorrow not to be able to  see the  
things ,i was explaining1 and had to go 
out accompanied by  ,giorgini1 if ,i    
mistake not4 ,and here was another of   
those great souls  that warmed itself in
 the rays of that faith which broke     
asunder the  chains of the slave--opened
 the mind and softened the heart of the 
savage--restrained the flights of fancy 
within the beaten road of truth  and    
good--willed that power1 justice1 and   
charity should be friends with  each    
other1 and made one taste of peace and  
happiness in poverty--and  that enlarged
 and extended the confines of the       
intellect1 of morality1  and of         
civilisation4    ,i beg pardon if ,i    
have enlarged too much on this subject1 
but ,i do not  think it can be          
superfluous to endeavour to correct the 
tendency of the  day1 when from every   
side one hears repeated that1 for the   
future1 in  art the study of religious  
subjects is at an end1 as if society of 

to-day was entirely composed of         
unbelievers or free-thinkers1 who1 by   
way of parenthesis1 amongst other fine  
things have never thought that  thought 
itself is not at all free4 ,it seems to 
me that thought is an  attribute of the 
soul that is moved with marvellous      
rapidity by means of  a strength and    
impulse superior to itself1 which depend
 upon physical  constitution1 education1
 and example4 ,thought1 with all its    
freedom1 all  its flights1 is subject1  
dependent1 and1 as one might say1 formed
 by  those forces and those impulses4   
,sidenote3 ,,guardian ,,angel ,,for     
,,the ,,grand ,,duke4    ,in the        
infinite scale of human thoughts there  
are some good1 but a great  many more   
are bad4 ,in the moral order of things1 
those contrary to good  are evil2 as in 
the intellectual1 those contrary to     
truth--and in the  ideal1 those contrary
 to the beautiful4    ,now thought moves
 inconstantly from the beautiful to the 
ugly1 from the  true to the false1 from 

good to evil1 until our will1 which is  
really  free1 either repulses it or     
takes possession of it according to the 
power1 more or less1 that reason has    
over the will4 ,it is clear1  therefore1
 that thought is not free1 but1 on the  
contrary1 is  subservient to laws       
independent of and superior to itself4  
,how this  happens is quite another pair
 of sleeves2 but the fact is this1 our  
thought is moved1 and so to speak1      
subject to this power4 ,will comes and  
accepts it1 weds it and makes it its    
own1 good or bad though it be1 with  or 
without register of baptism1 and snaps  
its fingers at the syndic or  the       
priest4 ,once stirred1 thought moves the
 will1 and the will  assenting1 commands
 it as with a rod4 ,and now1 for the    
second time1 let  me really beg pardon4 
,after my ,christ1 his ,imperial        
,highness the ,grand ,duke ,constantine 
of  ,russia gave me an order for an     
angel that he wanted as a present for a 
,german prince1 whose name ,i do not    

remember4 ,this angel was to be the     
,guardian ,angel2 the subject was       
determined upon1 and ,i don't know if1  
in  the mind of the giver1 it was to    
guard the prince or the principality4   
,if it was the prince1 ,i hope my poor  
angel will have done the best he  could2
 if the principality1 ,i am afraid that 
he has been overcome by  cunning and    
force4 ,his head is crowned with olives1
 and his lifted right  hand points to   
heaven4 ,will the prince feel any       
consolation looking at  the statue8 ,i  
hope so2 and in any way1 he will be     
persuaded that true  peace is not of    
this world4    ,sidenote3 ,,cipolla     
,,and ,,the ,,monument ,,to ,,cavour4   
,it is now the time and place to speak  
of ,cavour's monument4 ,as ,i before    
mentioned1 ,i was one of the judges on  
that committee4 ,my vote had been  for  
,professor ,vela's design1 but the prize
 was obtained by the architect          
,professor ,cipolla2 and as he was an   
architect1 he naturally could not  carry

 his work into execution3 he therefore  
went the rounds1 and it was  not        
difficult for him to find several       
sculptors who assumed1 each and  all of 
them1 certain parts1 either a statue or 
bas-relief4 ,for the  principal statue  
of ,cavour1 it was the intention1 ,i    
know not whether of  ,cipolla or the    
,giunta ,comunale1 that ,i should make  
it1 but their  reiterated request ,i did
 not think well to accept4    ,in the   
meantime1 in ,turin there began to be a 
sort of persistent1 dull  warfare       
against ,cipolla's design4 ,all sorts of
 possible and imaginable  doubts were   
raised as to its general character1     
meaning1 proportions1  and effect4 ,that
 excellent artist1 ,professor ,cipolla1 
proposed to put an  end to all this talk
 by setting up in relief1 in largish    
proportions1 a  model of his            
so-much-contested design4 ,would that he
 had never done so6  ,the aversion to it
 grew beyond bounds1 and pronounced     
itself by means of  the press to such a 

degree1 that the ,giunta thought it best
 no longer to  intrust him with the     
commission for the work2 for1 by virtue 
of an  article in the programme for this
 competition1 the committee were not in 
the least tied down to commit the       
execution of the monument to the  gainer
 of the prize at the competition1 having
 left itself full and  entire liberty of
 action4 ,from this began a sequel of   
remonstrances and  appeals on the part  
of the artist1 and answers backed by law
 on the part  of the commission1 which  
was then broken up and another formed1  
for the  purpose of studying anew the   
whole affair4    ,sidenote3 ,,the       
,,cavour ,,monument ,,given ,,to ,,me4  
,i hurry over these things quickly as   
they come to me and as my memory  has   
retained them after many years1 without 
searching amongst letters1  newspapers1 
or elsewhere1 wishing1 as ,i have done  
until now1 to make use  only of my      
memory4    ,the new ,giunta1 presided   
over by my illustrious and lamented     

friend  ,count ,federigo ,sclopis1 took 
up this tangled affair1 discussed in so 
many ways1 and came to the determination
 of not having any more  competition4   
,they decided that the best thing to be 
done was to choose  an artist1 and order
 the work directly from him1 leaving him
 free to  determine the rendering of the
 subject1 the size of the monument1 the 
materials to be employed1 and choice of 
the site1 and all other matters1        
except1 naturally1 as to price and      
time1--which latter could be but  short1
 owing to the two years that had passed 
in competitions6 ,the  choice fell on   
me1 who was a thousand miles away from  
thinking of such a  thing4 ,however1    
before saying a word to me1 and much    
less1 writing to  me1 ,i was            
interrogated by a most estimable person 
if ,i would accept that  work1 and ,i   
answered at once that ,i would not3 in  
the first place1  because the subject   
was a difficult one1 on account of its  
purely  political significance1--so     

extraneous1 not to say tiresome1 to my  
nature and studies2 in the second place1
 because1 having been one of the  judges
 on that commission1 it did not seem    
delicate to accept it2 and  finally1    
because ,i thought ,vela's design most  
praiseworthy4 ,but neither  my refusal  
nor the reasons ,i put forth availed to 
alter the resolution  they had now taken
 to make me accept the work1 which1 for 
the matter of  that1 if it presented    
great difficulties1 and even rather     
rough ones1 in  the rendering of its    
great conception1 yet offered a most    
rare  opportunity1 that would have      
flattered many other artists of more    
ambitious hope than ,i1 who have always 
been temperate4 ,with all this1         
however1 ,i should always have replied  
in the negative1 had not a gentle  and  
most noble lady begged me to accept1    
touching on certain family  affections  
that have always found in me an echo of 
assent4    ,sidenote3 ,i ,,accept ,,the 
,,commission4    ,i accepted this       

commission1 therefore1 not blinding     
myself to the great  difficulties that  
,i was going to encounter1 or the many  
little  annoyances that ,i should       
undergo on account of the disappointed  
hopes of  those who had competed for the
 work4 ,i saw and felt all the          
seriousness  of my undertaking1 and     
thought of nothing else but carrying it 
out most  conscientiously4 ,i asked for 
eight years' time1 which will not appear
  much1 to execute the work2 but ,i was 
begged to be satisfied with six1  and ,i
 wrote my adhesion1 still declaring in  
the contract that it would  be          
impossible for me to complete it in that
 short time4 ,although ,i  worked with  
all possible energy1 and provided myself
 with additional  workmen besides my own
 usual ones1 yet the monument could not 
be  finished and put in its place until 
after the eight years that ,i had  asked
 for4    ,sidenote3 ,,description ,,of  
,,my ,,design4    ,my composition of the
 architectural part of the monument was 

a  quadrangular base1 with two spherical
 bodies on each side1 whereon  reposed  
another base1 with the corners cut off1 
that sustained the  principal group of  
,italy and ,cavour4 ,in front1 on the   
lower base1 is the  half-reclining      
figure representing ,right in the act of
 rising1 who leans  with the right hand 
on a broken yoke1 and clenches the left 
on his  breast in a menacing attitude4  
,his head and back are covered by a     
lion's  skin1 signifying that right is  
strength4 ,opposite is ,duty1 in a quiet
  attitude of repose4 ,his head is      
crowned by a wreath of olives1          
signifying that in the fulfilment of    
duty peace is to be found2 his  right   
elbow rests on a block1 where1 on the   
two sides exposed to view1  are         
sculptured in bas-relief the two        
extremes of human activity4 ,on one  of 
these there is a king distributing a    
crown and prizes to a virtuous  man1    
whilst behind him there is a chained    
delinquent undergoing his  penalty2 and 

on the other there is a husbandman      
ploughing the ground4 ,on  the two      
lateral sides there are two groups4     
,that on the right is of  ,politics1    
with two little genii1 ,revolution and  
,diplomacy4 ,politics is  seated1 but   
alert1 and almost in the act of rising3 
her head is turned  to the little genius
 of ,diplomacy1 who has unfolded the    
treaties of  #ahae1 and is gravely      
showing it to her with his right hand1  
whilst with  his left he hides behind   
him a sword and olive-branch1           
demonstrating  that he brings with him  
either war or peace4 ,the other little  
genius of  ,revolution1 in the act of   
wishing to dash forward1 is held back by
  ,politics1 who keeps her eyes on him1 
and1 with a caressing expression1  tries
 to temper his ardour2 one of his feet  
rests on a fragment of  medieval        
architecture1 and he holds in his right 
hand a brand1 the  symbol of            
destruction4 ,the group on the left is  
of ,independence1 tightly  clasping in  

her embrace the little genius of the    
,provinces1 at whose  feet still lies a 
link of his chain of captivity4         
,independence has ,roman  sandals on her
 feet1 and a warrior's helmet on her    
head2 her right arm  is uplifted1 and   
she holds a broken chain in her hand1 in
 the act of  dashing it from her4 ,the  
other genius is that of ,unity1 crowned 
by an  oak-wreath2 he holds the fasces1 
to show that union is strength4 ,the    
principal group stands up on the top1   
and represents ,cavour1 wrapped in  his 
funereal mantle4 ,italy1 at his side1 in
 the act of rising from her             
prostration1 is offering him the civic  
crown1 with expressions of  gratitude1  
more decidedly expressed by her left    
arm1 by which she holds  her great      
politician tenderly around the waist2   
whilst he1 with kindly  act1 shows the  
people a chart1 on which is written his 
famous formula1  ,libera ,chiesa in     
libero ,stato1 or free ,church in free  
,state4 ,on the  two faades of the great

 base are two bas-reliefs in bronze4 ,in
 one of  these is portrayed the return  
from the ,crimea of the ,sardinian      
troops1  who1 by ,cavour's advice1 took 
part1 in union with ,france and         
,england1 in  the war against ,russia1  
to put a check to the ambitious designs 
of that  ,power in the ,east4 ,the other
 bas-relief represents the ,congress of 
,paris1 where for the first time1 on    
account of ,cavour1 ,italy's voice was  
listened to4    ,sidenote3 ,,description
 ,,of ,,this ,,monument4    ,the        
architectural part is made in rose      
granite of ,baveno2 the  ornaments--that
 is to say1 the arms1 cornices1 and     
trophies--and the  statues are in clear 
white marble of ,canal ,grande1 which   
withstands all  attacks of weather4 ,the
 entire monument is elevated on three   
steps1 and  surrounded by a garden      
enclosed by railing4    ,the            
inscriptions are3 ,on the front1 ,to    
,cammillo ,cavour1 born in ,turin  the  
#ajth of ,august #ahaj1 died the #fth of

 ,june #ahfa4 ,on the side over  the    
,politics1 ,audace prudente2 over the   
,independence1 ,l',italia  libero2 and  
behind1 ,gli ,italiani1 auspice ,torino4
 ,these  inscriptions are by ,professor 
,michele ,coppino4          ,,chapter   
,,xx4         ,,allegories ,,in         
,,art--,,the ,,monga ,,monument ,,at    
,,verona--,,of ,,my ,,late              
,,daughter ,,luisina--,,her             
,,death--,,how ,i ,,was                 
,,robbed--,,monsignore                  
,,archbishop ,,limberti',s ,,charitable 
,,project--,,one ,,of ,,my              
,,colleagues--,,nicol ,,puccini ,,and   
,,the ,,statue ,,of ,,cardinal          
,,forteguerri--,,cesare                 
,,sighinolfi--,,cardinal ,,corsi1       
,,archbishop ,,of       ,,pisa4      ,i 
should now feel inclined to speak at    
length of the troubles1 the  thoughts1  
and of the opposition that ,i had to    
encounter during eight  years1 the      
grimaces and the miserable enmities of  
fickle1 unstable  friends and ungenerous

 enemies2 but ,i must keep silent1 as ,i
 have been  thus far on all such        
matters1 because my intentions and my   
works being  known to all1 others may   
judge them4 ,then ,i also remember a    
wise warning  that was given me when ,i 
was quite little1 which is never to     
satisfy any  desire or impulse to give  
vent to personal resentment1 and ,i have
 always  found myself the better for it4
 ,in such cases1 silence has two        
advantages1--that of leaving one's own  
soul at peace1 and of not  satisfying   
those who would take pleasure in hearing
 us complain4    ,only on one thing ,i  
will not be silent1 because this does   
not concern  me1 but is a principle in  
art4 ,i was reproved for having used    
allegorical figures in ,cavour's        
monument1 it being asserted that as the 
subject was entirely a modern one1 and  
could not bear allegory1 it was         
inopportune and improper4 ,to which ,i  
answered1 that when the subject         
permitted1 it was well not to think even

 of allegories4 ,if they had said  to   
me1 ,a memorial of ,count ,cavour is    
wanted1 make us a statue1 nothing  would
 have been easier4 ,a portrait-statue   
dressed in the clothes he  wore1 one or 
two bas-reliefs on the base1 and a brief
 inscription1 would  have been enough2  
and1 ,i repeat1 nothing would have been 
easier4 ,it was  not this1 however1 that
 the commission required for ,cavour's  
monument4  ,the commission desired that 
the whole of his character and          
intentions1  the tenacity of his will1  
the greatness of his propositions1 and  
the  benefits obtained therefrom1 should
 be portrayed4 ,now1 how to explain     
this with real historical figures1 or1  
as they say1 in living art8 ,as if  a   
complex idea expressed by one or more   
figures1 as is the case with  allegory1 
is dead art6 ,oh1 do me the famous      
pleasure1 you irritating  sthetics1 to  
go and prattle to babes6 ,but don't     
speak to them of  ,phidias1 ,zeuxis1    
,alcamenes1 and others1 of that dead art

 that is now  more alive than it ever   
was2 nor of ,giotto1 nor of ,giovanni   
and ,andrea  ,pisani1 nor of ,raphael1  
nor of ,michael ,angelo1 and many more1 
for they  might find you out in your    
error4 ,i repeat1 this does not concern 
me or  my work in the least1 but it     
bears on a principle1 and is a question 
that has been many times ventilated and 
resolved by the best thinkers in  the   
way of argument1 and by artists1 who    
were not blockheads1 in their  works4   
,sidenote3 ,,historical ,,figures ,,and 
,,allegories4    ,from the noble        
,signora ,augusta ,albertini of ,verona1
 through my friend  ,aleardo ,aleardi1  
,i had an order for a monument to her   
family1 an  extremely painful subject4  
,the ,signora ,albertini had lost1 one  
by one1  all her family--father1 mother1
 brothers1 sisters1 all--and she had    
alone survived2 alone1 but with the     
bitterly sweet memory of those she  had 
loved so much1 and the desire to erect a
 monument to them4 ,some time  before1  

she had given the commission to a young 
,veronese sculptor of  great promise1   
,torquato della ,torre1 and they tell me
 that he had  already made a sketch2 but
 shortly after1 the young sculptor died1
 and  after a long time had gone by ,i  
undertook to make this monument4 ,here  
is  the description of it4 ,on a        
quadrangular conical base there is      
placed a  group consisting of the ,angel
 of ,death seated1 and prostrated at his
  feet the only survivor of the family1 
waiting1 as it were1 after the  havoc   
made by that angel in her family1 for   
her turn to fall a victim4  ,the angel1 
seated on a fragment of an antique      
frieze1 to denote that he  is superior  
to time and the pomps of humanity1 is   
crowned with cypress1  and has a pained 
expression1 as if he deplored the office
 that ,divine  ,justice had ordered him 
to fulfil2 the exterminating sword is   
still in  his hand1 but the point is    
lowered4 ,on the base is a bas-relief   
representing the dead members of that   

family2 and as they died at brief       
intervals the one from the other1 as if 
,death had blown them down with  her    
breath as the wind overthrows the trees 
in the country1 so they are  laid out1  
shoulder to shoulder1 by each other4 ,a 
little angel hovers in  the air near    
them with hands clasped in prayer1 and  
in the background1  on the horizon line1
 one perceives ,verona4 ,the bas-relief 
is in bronze1  and its colours add      
seriousness and sadness to the scene4   
,on the sides1  and again in bronze1 are
 sculptured two wreaths of cypress1 so  
that this  first base on the plinth     
seems as if it were entirely made of    
bronze2  the upper part1 on which the   
inscription is engraved and the group   
stands1 is in granite4 ,this monument is
 at the end of the first nave on  the   
right in the cemetery at ,verona4       
,sidenote3 ,,monument ,,to ,,the        
,,family ,,albertini4    ,i said in the 
beginning of these memoirs1 that ,i     
wrote not only for  young artists       

desirous of knowing something of my     
life1 my works1 and  the principles that
 have been my guide in art and my       
intercourse with my  fellow-beings1 but 
also to leave to my family a remembrance
 of my  feeling and affection for them4 
,and now that it behoves me to speak of 
one of our greatest sorrows--that is1 of
 the loss of my most beloved  daughter  
,luisina--,i know that ,i am doing what 
my dear ones desire1  however sad it may
 be2 therefore ,i warn those not caring 
for this theme  to pass on4             
,sidenote3 ,,death ,,of ,,my ,,daughter 
,,luisina4    ,i would that ,i could    
divest myself of all my defects to speak
 of ,gigina4  ,i would that this page   
which ,i consecrate to her memory       
breathed a  little of the sweetly chaste
 love that showed itself in every act1  
every  word1 and every look of hers4 ,i 
would that ,i could simplify my style1  
temper and purify my words1 that they   
might sound sadly sweet1 pure1 and      
serene1 as were her words1 her looks1   

and her mind4 ,but ,i greatly fear  that
 ,i shall not succeed in giving even a  
feeble idea of that dear  child2 ,i     
fear1 because purity and chastity of    
imagery and simplicity of  words have in
 some measure vanished with my youth and
 ambition--the  passion and love for    
renown have perhaps clouded the         
clearness of mind  wherein was reflected
 the true and the good4 ,i shall also   
not succeed1  because the innate beauty 
of that sweet creature was not fully    
revealed  to me1 for the confidence     
existing between a daughter and her     
father is  always modified by respect2  
and so it is bereft of those intimate   
and  delicate traits which are its      
sweetest perfume4 ,my family will read  
these words on our beloved ,luisina1 and
 supply with their loving memory  where 
,i fail in my littleness4 ,my           
son-in-law1 ,antonino1 wrote of her     
with the intelligence of love2 and      
several of my friends in condoling  with
 me rendered her image more beautiful   

and more amiable4 ,yet  notwithstanding 
all this1 ,i feel a desire to return to 
that dear little  angel1 were it for    
nothing else but to rejuvenate and      
sanctify that  sorrow4    ,sidenote3    
,,luisina',s ,,character4    ,from her  
early girlhood my ,luisina was as       
vivacious and playful with her  little  
sisters and with her mother as they     
would allow her to be2 with  me she was 
more serious1 and sometimes even sad1   
perhaps because she saw  that ,i was    
serious1 and because at that time my    
health was not good4 ,as  she grew older
 she was more confiding in me1 and      
displayed great love  for her mother and
 sisters4 ,she took pleasure in helping 
them with such  little household affairs
 as no one else could or can do4 ,she   
also drew1  seeing her sisters draw1 and
 could draw from memory faces and       
persons of  our acquaintance4 ,i have   
also amongst her papers extracts copied 
by her  from books that had pleased her4
 ,she loved flowers1 and in the morning1

  together with her sisters1 she        
gathered them in the garden of our      
villa1  and1 making bunches of them1    
placed them on the altar in the little  
chapel4 ,those days were delicious ones1
 but they were brief6 ,there is no      
happiness on earth1 or it lasts but a   
very little while4 ,true it is that     
memory remains to make us taste of a    
bitterness mingled somewhat with a      
sweet sadness1 because the dear person  
taken from us lives again in our  mind  
and responds to the beating of our      
heart4 ,we remember the  movements1 the 
modest look1 the words1 the gentle      
affections1 and all  the virtues by     
which she was adorned1 rendered still   
more visible and  clear without the     
encumbrance of the body1 by whose veil  
the light was  subdued4 ,and then--then 
there remains for us that sweet1 most   
consoling  hope of seeing her again for 
evermore1 leaning on that faith that is 
the substance of things hoped for1 the  
evidence of things not seen4            

,sidenote3 ,,illness ,,and ,,death ,,of 
,,luisina4    ,o my good ,gigina1 my    
beloved little angel6 ,i remember all   
that relates  to thee--thy obedience1   
thy affection1 thy anxious delicate care
 of us1  our walks on the delightful    
,fiesole hill so dear to thee1 almost a 
presage that the body should one day    
have rest there1 and now the little     
chapel in the cemetery there contains   
also that of thy dear1 tired1 and       
martyred mother6 ,oh if ,i had strength 
equal to love1 ,i would also write  of  
her6 ,i shall do so in time1 but now ,i 
return to thee4 ,the remembrance  of    
that morning lies buried in my heart2 it
 was in ,june #ahgb1 two days  before   
thy fte day1 ,san ,luigi4 ,for several  
days thou hadst felt ill1  and could not
 dissimulate as in the past4 ,that      
morning1 before going  down into        
,florence1 ,i went into thy room1 and   
seeing that thou wast  determined to get
 up1 ,i ordered thee to remain in bed2  
thou wast  obedient as always1 my angel1

 but wept1 because wanting1 as ,i       
afterwards  knew1 to be up on thy festal
 day4 ,the illness was felt by thee1 but
 with  hope to overcome it1 at least for
 two days1 resigning thyself to all     
suffering thereafter4 ,thou didst obey1 
but weeping4 ,perhaps this  aggravated  
thy disease4 ,this is the thorn ,i bear 
within my heart4    ,as soon as         
,bendini1 the medical man from ,fiesole1
 saw her1 he thought  her case most     
grave1 and wished to consult her own    
doctor1 ,dr ,alberti1  who had treated  
her at other times4 ,i went at once to  
beg him to come1  and brought him back  
with me1 as he has always had great     
kindness and  friendship for us1 and    
from that day he always saw her in      
company with  ,bendini4 ,but the disease
 increased more and more1 and she       
already  breathed with difficulty1 but  
preserved in her thoughts and words     
serenity and resignation4 ,then began   
those most painful alternations of      
disease--a little better and then a     

little worse--and always the same  story
 over and over again4 ,there is no pain 
more cruel and stinging  than the       
delusion of a hoped-for good2 the heart 
that opens anxiously to  hope is as if  
crushed and torn from one's breast by   
implacable delusion4  ,he who has       
experienced these painful alternations  
knows that they are  more cruel than    
even death itself4 ,o ,great ,god of    
,israel1 sustainer of  all faithful     
souls1 look down upon the affliction of 
,thy servant6 oh  assist him in all     
things to come6 ,this affliction that   
came to us by  ,god's will broke down my
 pride1 and spread over my family a veil
 of  sadness2 it gave a shock to my     
beloved ,marina's health1 and perhaps   
accelerated her death4    ,sidenote3    
,,amalia ,,makes ,a ,,monument ,,to     
,,her4    ,luisina expired in the first 
morning hours of the day of the         
,ascension  of the ,most ,holy ,mary4   
,she had1 whilst living1 the semblance1 
the  thoughts1 and the affections of an 

angel2 and she seemed to fall asleep  in
 the ,virgin's arms1 and fly away with  
her to heaven4 ,in this belief ,i  find 
comfort and a sweet peace that not only 
compensates for her loss1  but even     
more1 makes me taste of so pure a       
pleasure that no words could  express   
and no worldly care could disturb4 ,her 
body rests in our chapel  in the new    
cemetery at ,fiesole1 and there my      
daughter ,amalia has erected  a little  
monument to her4 ,the sepulchral urn is 
placed in a niche with a  flat          
background1 and on it lies sculptured   
the dear child in peaceful  slumber1    
holding the crucifix in her right hand4 
,everybody could see1  and none better  
than ,i1 how much poor ,amalia suffered 
in completing this  sorrowful work4 ,i  
attempted to dissuade her from this most
 painful duty  she had imposed upon     
herself1 but the strong affection for   
her dead  sister suggested perhaps to   
her that in offering this tribute of    
sister  and artist the pain would be    

somewhat softened4    ,i know that this 
remembrance1 and the thoughts that have 
dictated it1  may make some smile2 but  
in time they will think better of it1   
and will  know that sadness is worth    
more than laughter1 for the heart       
becomes  better for the sadness in the  
face4 ,and with this ,i have finished   
talking of my ,gigina1 keeping her      
memory always in my heart4    ,sidenote3
 #ej1jjj ,,lire ,,is ,,stolen ,,from    
,,me4    ,to narrate the death of my    
,luisina1 ,i have omitted a             
circumstance1 and  not a trifling one in
 my life--that of the theft that        
occurred to me of  fifty thousand lire4 
,i hasten to declare that until that day
 7it was  in #ahff7 ,i never had been   
the possessor of such a sum1 and as soon
 as ,i  was1 it was stolen from me4     
,this is how ,i came into possession of 
the  money1 why ,i kept it intact1 and  
how it was stolen from me4 ,i had only  
begun on ,cavour's monument a short time
 before1 and in accordance with  the    

form of the contract1 had received the  
first remittance of fifty  thousand     
lire4 ,at the same time1 ,i was         
arranging to buy a house in the  ,via   
,pinti that ,i thought ,i should be able
 to adapt and make into a  spacious     
studio1 such as was necessary for me in 
modelling the colossal  figures for the 
monument4 ,as the sale of the house was 
to take place  from day to day1 ,i was  
persuaded also1 by the advice of my     
lawyer1 not  to employ this money in any
 way1 so as to have it ready to give in 
payment for it4 ,and as ,i had kept the 
little sums of money that ,i had  had in
 hand up to that time in a secret drawer
 of the closet in my own  room in the   
studio1 ,i placed this also there4      
,at this time ,i was working on the     
marble of a statue1 the ,tired          
,bacchante1 which had been bought by the
 ,king of ,portugal4 ,i had a young     
,roman girl as a model1 and she came    
accompanied by her mother4 ,this  woman 
also had a son 7so1 at least1 it was    

said2 then it was no longer  so2 in     
fact1 there was some mystery that ,i    
don't remember1 because  naturally such 
things were of no importance to me74    
,the boy came also  for a model1 and    
appeared to be a good fellow1 as well as
 the girl4    ,sidenote3 ,,how ,,the    
,,theft ,,took ,,place4    ,one morning 
7,i was still in bed1 but about to get  
up7 my poor wife came  into the room and
 said--    ,here is ,bardi1 who wants to
 speak to you4    ,what can he have to  
say to me8 ,does he not know that in    
half an hour ,i  shall be at the studio8
 ,he could wait4 ,let us hear what is   
the matter4    ,bardi was one of my     
studio men1 the rougher-out1 whom ,i had
 brought up  from a boy1 and he had been
 with me twenty-three years4 ,he was a  
thin1  white-looking man1 with a black  
beard1 and dark lines under his eyes in 
his normal condition4 ,that morning1 as 
soon as ,i saw him1 he really           
frightened me1 for he looked absolutely 
like a dead man1 or as ,dante  says1    

cosa rimorta4 ,he took me aside1 that my
 wife should not hear1  and he told me  
that he had found the door of my room   
open1 and having  waited and listened   
awhile to ascertain if by chance ,i had 
arrived  before him and was inside1 but 
not hearing a sound after having called 
me1 he entered the room and saw the     
closet open1 the drawers on the  ground1
 and the papers scattered about4 ,he    
asked me anxiously if ,i kept  anything 
of value there4    ,all1 my dear ,bardi6
 all that ,i possessed in money was     
there4 ,and  having almost no breath for
 words1 ,i went out with him1 rushing   
through  the street4 ,it is easier      
imagined than told how ,i felt on seeing
 all the  drawers upset and empty1 and  
the papers and thousand little objects  
they  contained scattered about the     
ground4 ,all the men of my studio       
gathered  about me1 and pitied me       
without even suspecting that it was a   
matter of  such a sum of money4 ,my good
 friend ,cavaliere ,raffaello ,borri1   

being  told what had occurred1 came to  
me at once1 and with rare generosity    
offered me his purse and his credit1 and
 accompanied me home1 with my  heart    
full of anguish to be obliged to give   
this news to my poor wife4  ,my friends 
rivalled each other in consoling me1    
some with offerings and  some with      
affectionate words2 and ,i can never    
forget the charitable  proposition made 
by ,monsignore the ,archbishop          
,giovacchino ,limberti1 to  collect a   
certain sum for my benefit amongst those
 who were best able to  give1 and who   
knew me and loved me4 ,all these ,i     
truly thanked from the  bottom of my    
heart1 saying that for the moment ,i was
 not in straitened  circumstances1 and  
if ,i was no longer in possession of    
that money--for  which1 thank ,god1 ,i  
was not in debt--yet it was not lawful  
for me to  accept help of any kind1 for 
in substance ,i could not call myself   
strictly in need1 and ,i remembered in  
the past having really been poor  and   

not having accepted or asked for        
anything1 because my principle is  that 
every one ought to be sufficient for    
himself4    ,sidenote3 ,a ,,portion ,,of
 ,,the ,,money ,,found4    ,how the     
thieves were discovered1 how some       
escaped from justice1 how one  was taken
 and condemned1 and how1 finally1 part  
of the money stolen was  saved1 the sum 
of #ab1djj lire returned to me1 besides 
the gold medal  that ,i had obtained at 
the ,universal ,exhibition of ,paris in 
#ahee1 and  which was shut up in the    
same place with the stolen money1--all  
this  appears in the judiciary chronicle
 of that time4 ,nor do ,i feel inclined 
to mix in such mire1 and the reader     
could not follow me without disgust4    
,it was well that in the part of the    
theft recovered my ,paris medal was     
found1 not only because by this the     
reality of the robbery committed on  me 
was proved and the restitution instantly
 made1 but still more because  it       
silenced some1 ,i don't know how to     

qualify them1 who seemed to doubt  the  
misfortune that had befallen me1 as if  
almost ,i had invented it--as  if ,i had
 been a vulgar impostor1 and had        
invented this fable to avoid  payment   
444 of what8 ,i had never had debts     
before that time1 then1 or  since2 and  
that ,i had no engagements to meet is   
proved by the refusal ,i  made to those 
who so kindly and willingly offered to  
come to my aid4    ,sidenote3 ,i        
,,forget ,a ,,promissory-,,note4    ,but
 yes1 once ,i had a debt1 but merely by 
chance1 or ,i had better say by         
forgetfulness4 ,when this happened ,i   
was very young--at the beginning of  my 
artistic career1 if ,i mistake not4     
,then ,i was making the ,cain4 ,in      
order to put it into marble ,i went to  
,carrara1 found the block that  suited  
me1 and said that ,i would pay for it   
when the marble itself  arrived4 ,the   
trader answered1 ,all right6 ,i shall   
send the marble at  once2 and as to the 
payment1 ,i shall draw out a            

promissory-note for the  first of the   
month4 ,i had before me some twenty     
days' time4 ,my mind  being entirely    
possessed by the marble1 ,i took no note
 of the day when  the money became due4 
,i knew that ,i had to pay1 but the date
 escaped me1  and one fine day ,i       
suddenly beheld before me a man from a  
bank1 who came  to receive the money    
that ,i had not got in full4 ,i         
stammered out  something1 as a man might
 do about to be hanged4 ,oh1 don't hurry
  yourself much1 said the man2 suit your
 own convenience--,i will return  later2
 there is time until three1 and he went 
away4 ,how ,i felt can  easily be       
imagined by those who know me4 ,i became
 whiter and harder than  the marble that
 ,i had then before me on the ground4 ,i
 must find there  and then1 in the beat 
of a drum1 the three or four hundred    
scudi that  were wanting2 and where to  
find them1 ,i1 who had never before     
asked for  anything in loan8 ,a good    
inspiration came to me4 ,yes1 said ,i1  

,sor  ,emanuele can do me this favour2  
and putting on my coat1 ,i ran into the 
square to the ,fenzi bank4 ,sor         
,emanuele was there at the back in his  
study1 and you could see through the    
open glass door that fine jovial  witty 
face of his4    ,sidenote3 ,,an         
,,incredulous ,,colleague4    ,when he  
saw me he exclaimed1 ,how are you8      
,sor ,emanuele1 this and this is the    
matter1 and ,i told him everything4     
,he gave me a slightly frowning look1   
and then burst into a fit of  laughter  
that made his subalterns who were behind
 turn round1 and he  said1 ,look here1  
we will do so2 he tore off a cheque1    
wrote the sum on  it1 and continuing to 
laugh1 added1 ,pass on there to ,bosi   
and give him  this2 and au revoir until 
this evening 7,i used to frequent his   
house72 but when he had turned he called
 me back again and said3  ,listen--,i   
want to give you a counsel4 ,you must   
never again sign any  promissory-notes  
if you can help it2 or if you do1 make a

 note of them  and look at it every     
day1--and he began again to write1      
smiling to  himself4    ,will you       
believe it1 ,sor reader1 ,i have never  
again signed any bills1  although more  
than thirty-six years have gone by8 ,yet
 7to return to the  robbery71 amongst   
those who doubted my misfortune there   
was a colleague  of mine1 who1 listening
 that day with an incredulous air to the
 account  of what had occurred1 and     
hearing that the sum in question was    
fifty  thousand lire1 with a smile on   
his lips and bad feeling at heart1 came 
out with these words--    ,fifty        
thousand lire6 that is rather too much6 
,this colleague of mine was not the only
 one1 nor one of the worst4 ,some  few  
years ago a little thing happened which 
shows the uprightness and  generosity of
 another of my colleagues6    ,sidenote3
 ,,statue ,,of ,,cardinal ,,forteguerri4
    ,sidenote3 ,,sighinolfi',s ,,model  
,,rejected4    ,cavaliere ,nicol        
,puccini1 in dying at ,pistoia1 left    

orders in his will  that a statue of    
,cardinal ,forteguerri should be made   
and placed in the  ,piazza del ,duomo of
 that city4 ,cavaliere ,puccini's idea  
was1 as every  one can see1 a wise and  
generous one1 and belied reports1 which 
made him  out odd and unfriendly to the 
priests4 ,this statue was to be assigned
 by  competition1 and with the          
obligation of presenting a model in     
plaster  representing the ,cardinal in  
his robes1 with the insignia of his     
office1  and the size of life4 ,it is   
evident to all that this obligation was 
a  serious one1 and would cause many to 
withdraw from the competition1 as       
really happened4 ,one person1 however1  
went in for the competition1 and  this  
was ,signor ,cesare ,sighinolfi of      
,modena1 who1 having left my  teaching  
but a short time before1 set himself to 
model this statue in  too trivial a     
way--without a model1 without the       
necessary robes1 and  without even      
caring a pin as regards asking me       

anything concerning the  composition1 or
 the requisite means for not making a   
jackanapes instead  of a cardinal6      
,vivacious and careless as he was then1 
he had the  pretension of being able to 
model a cardinal's statue life-size by  
only  consulting some prints or pictures
 of cardinals1 and the result was--as   
it should have been--that the statue was
 a very bad one4 ,an article in  the    
programme for this competition provided 
that the adjudication of the  prize     
should be given by the ,florentine      
,academy4 ,i was not present at  the    
meeting1 to avoid giving a vote against 
it1 as ,i was not unaware how  the work 
had turned out4 ,the poor statue1       
therefore1 was judged and  condemned    
without mercy4 ,then1 after the first   
ebullition of juvenile  impetuosity that
 had made him run on so foolishly was   
over1 he returned  to his senses1       
remembered me1 and as at the same time  
though he had so  much youthful         
light-heartedness1 he had also a certain

 tenacity of will  and self-love that   
had been wounded by the rejection of his
 work1 he ran  to me and entreated me to
 intercede with the commission that     
organised the  competition1 and obtain  
for him the concession of another trial4
 ,i  willingly agreed to do so1 seeing  
the despair he was in1 and  appreciating
 the no small amount of courage required
 to recommence from  the very beginning 
a difficult1 expensive1 and uncertain   
work2 but ,i had  to say to him1 444    
that is1 if you are only in time1       
because the  commission having just     
fulfilled its duty1 and the competition 
turned  out null1 is now free to give   
the statue to whomsoever it likes       
without  the obligation of competition4 
,it was therefore necessary to make an  
appeal to the commission to obtain its  
consent that another competition  should
 be opened1 and this was done by        
,sighinolfi1 accompanied by a           
recommendation from me2 and that it     
should have more value1 and the  second 

trial be conceded1 ,i advised           
,sighinolfi to have this appeal  signed 
by all my other colleagues4 ,he did so1 
and hurried by rail to  ,pistoia to     
present his request to the commission2  
but what was his  surprise when1 on his 
arrival there1 and just as he was going 
up the  stairs to present his paper to  
the secretary of the commission1 he saw 
coming down one of the professors who   
had backed and signed his appeal6  ,the 
poor youth divined all1 but still wished
 to make the attempt2 and he  did well  
to do so1--in fact the secretary in the 
most polite manner  tried to persuade   
the young artist that now there was no  
longer time1  that the competition had  
resulted in nothing1 and that another   
trial  would only draw things out to too
 great a length2 and finally1 that as   
an offer had just been made to the      
commission in shape of a request for    
this work whereby its own responsibility
 was covered1 so that it would  come out
 of the affair with honour1 he thought  

the commission would not  accord the    
petition1 but that he would take it1 and
 officially present  it1 so as to give  
it its due course4 ,as soon1 however1 as
 that excellent  gentleman had set his  
eyes on the paper1 and had seen the     
recommendation  and signature of the    
same individual that only a short time  
before had  made a request for the work 
for himself1 he was so filled with      
indignation that1 turning to            
,sighinolfi1 he said--    ,sidenote3    
,,the ,,competition ,,reopened4    ,go  
back to ,florence1 make another trial1  
and as you are recommended by           
,professor ,dupr1 he will assist you1   
and the commission will trust1 ,i am    
certain1 to the words and help of your  
master4    ,these1 or words to the same 
effect1 were reported to me by          
,sighinolfi on  his return1 and ,i saw  
myself doubly pledged that the young man
 should  really this time succeed4      
,here ,i am met by a reflection4 ,was it
 not perhaps quite lawful for an  artist

 to present himself and ask to have that
 work to do himself1  which1 by reason  
of an unsuccessful competition1 any one 
was free to ask  for and obtain8 ,lawful
 it certainly would have been for any   
one who had  not recommended the young  
man for a second trial1 but certainly it
 was  not praiseworthy in one who had   
made this recommendation2 so1 at least1 
it seems to me4    ,sidenote3 ,,cardinal
 ,,corsi ,,lends ,,his ,,robes4         
,therefore1 as matters stood thus1 ,i   
thought it my duty to advise and  direct
 the youth to follow a sure road1 and   
the only good one by which  to come     
safely into port4 ,and1 satisfying      
myself first as to his firm  will to do 
all and follow in everything what ,i    
advised1 ,i ordered him to  make a small
 sketch1 enough to get lines grateful to
 the eye4 ,then1  remembering the       
kindness that ,cardinal ,corsi1         
,archbishop of ,pisa1 had  always shown 
me1 ,i wrote him a letter nearly in the 
following terms3  ,eminence1--,signor   

,cesare ,sighinolfi1 my scholar1 is the 
person who  presents this letter to you4
 ,he has to make the statue of ,cardinal
  ,forteguerri for ,pistoia1 but could  
not possibly make anything good  without
 having the robes appropriate to that   
high office4 ,see1  ,eminenza1 if it    
would be possible for him to obtain them
 from you--as1  for instance1 if your   
,eminence had a robe1 even a worn-out   
one1 that you  could let him have for a 
short time--you would be doing a great  
act of  charity2 for ,i repeat1 without 
this neither he nor any one else could  
succeed in doing anything4 ,i am here to
 guarantee that the sculptor will  take 
the greatest care of it1 and return it  
as soon as possible1 c41  c4            
,sighinolfi1 although he is not1 ,i     
believe1 one of those many  would-be    
devourers of priests1 yet was1 and still
 is1 a most decided  ,liberal1 and the  
dignity and the face of a cardinal must 
have had the  same effect upon him as   
coming in contact with a most           

antipathetic  person would have upon you
 or me4 ,but1 as the proverb says1 one  
must  make of necessity a virtue1 and   
having crossed himself1 he presented    
himself before his ,eminence4 ,great was
 his surprise to find that prelate  most
 jovial and pleasant1 and quite ready to
 grant his request2 and that  worthy man
 pushed courtesy and amiability to the  
extent of making him  sit down at the   
table while he was taking his breakfast4
 ,it is as true  as the ,gospel that ,i 
have seen some democrats more           
aristocratic than his  ,eminence ,corsi4
 ,he then called his secretary1 ,codib1 
and told him to  have a whole suit of   
his best clothes1 from the hat to the   
shoes1 given  to ,sighinolfi1 and       
dismissed him with kindness4 ,i don't   
know if  ,sighinolfi offered to kiss his
 hand2 but even if he had1 it would have
  been the same thing1 for ,corsi would 
not have allowed him to kiss it1 as  ,i 
well know1 for he would never allow me  
to do so4    ,sidenote3 ,,the ,,statue  

,,adjudged ,,to ,,sighinolfi4    ,with  
this precious bundle of cardinal's      
clothes he was able to dress  one of our
 models1 who1 although somewhat         
ridiculous1 lent himself  admirably to  
being dressed in that way2 and this is  
the only means of  doing serious work4  
,the model was made under my direction1 
and exhibited  to be judged by the      
,academy1 and declared worthy of being  
executed in  marble4 ,so ended the      
difficulties arising from the           
light-headedness of a  young artist1 and
 made still harder by the intervention  
of an artist who  was neither generous  
nor just4          ,,chapter ,,xxi4     
,,the ,,universal ,,exhibition ,,at     
,,paris ,,in #ahfg--,,the ,,imitators   
,,of       ,,vela--,,inedited ,,music   
,,by ,,rossini ,,and ,,gustave          
,,dor--,,domenico                       
,,morelli--,,group ,,of ,,prince        
,,trabia',s ,,children ,,and ,,the      
,,thieves--,,stick ,,no ,,bills--,,the  
,,statue ,,of ,,marshal                 

,,pallavicini--,,the ,,empress ,,maria  
,,teresa ,,and ,,marshal                
,,pallavicini--,a ,,memorial ,,monument 
,,to ,,fra ,,girolamo                   
,,savonarola--,,the ,,universal         
,,exhibition ,,at ,,vienna--,a ,,tiny   
,,room--,,excellent ,,and ,,very        
,,dear--,,on ,,harmony ,,of             
,,sounds--,,on ,,the       ,,harmony    
,,in ,,the ,,animal ,,world--,,the      
,,harmony ,,of ,,the ,,human ,,form ,,as
       ,,manifested ,,by ,,the ,,inner  
,,beauty ,,of ,,the ,,soul--,,the       
,,campanile ,,of ,,st       ,,stephen',s
 ,,and ,,canova',s ,,monument4      ,it 
is now necessary for me to speak of the 
,universal ,exhibition at ,paris  in    
#ahfg2 but first1 ,i wish frankly to    
give my opinion on the utility or       
non-utility of such exhibitions1        
monstrous agglomerations of             
manufactures1 machinery1 raw material1  
food1 liquid for drink1 sacred          
utensils1 machines for war1 c41 all     
exposed by the different nations of  the

 world at the same time and in the same 
place4 ,it has been said that  this     
serves to create rivalry and emulation  
in the people of the  different         
civilised nations1 by placing their     
industries in contact with  each other1 
to be judged by special men named for   
the purpose to give  them their merited 
reward4 ,the idea seems to be a fine    
one2 in fact1 it  is so much too fine   
that the excess deforms it4 ,on the     
contrary1 ,i  believe that all this     
assemblage of things in an immense      
edifice1 with  thousands and thousands  
of visitors1 on one of the pleasantest  
and most  smiling sites1 in the most    
beautiful part of the year1 in one of   
the  great metropolises of the world1   
answers admirably to the economical and 
political aims of the ,state that       
assembles the exhibition2 gives an      
opportunity to travellers and exposers  
to see1 to divert and enjoy  themselves1
 and make acquaintances1 sometimes good1
 but oftener bad2  brings money into the

 pockets of intriguers and swindlers in 
proportion  to their dexterity1 and     
gives or increases the renown of ,tizio 
or ,caio1  to the detriment of          
,sempronio1 in the opinion of some with 
justice1 and  in the opinion of others  
with great injustice4 ,but who has the  
rights of  it8 ,the rights of it are at 
the bottom of a well1 and need the      
grappling-irons of time to drag them    
out4    ,sidenote3 ,,influence ,,of     
,,world ,,exhibitions4    ,i should     
believe in the utility of these world   
exhibitions if  they were by            
sections--industries1 manufactures1     
machinery1 and  agriculture--everything 
separate2 and separated always          
absolutely from  all the rest1 in time  
and in place1 the ,fine ,arts1 to which 
,i should  wish to see prizes awarded1  
not by a medal1 but rather by the       
purchase  of the work itself1 or if this
 be already disposed of1 by the         
commission  for another4    ,it may be  
somewhat useful to artists to see the   

works of others1 their  variety1 and the
 different modes of feeling and seeing  
of their authors2  it may infuse into   
them new life1 new strength1 and        
stimulate them to  search within        
themselves for what they find in the    
works of others3 but  if this           
examination1 this comparison1 this      
stimulating fever be of  assistance to  
some1 to the greater number it is a     
stumbling-block1 and  the cause of their
 going astray4 ,it is useless to have   
any illusion4 ,the  greater number of   
young artists allow themselves to be    
taken by the bait  of novelty1 only     
because it is novelty1 without being    
able to discern  the hidden reasons for 
which good sense and experience concede 
or deny  merit to such novelty4 ,to but 
few belongs the power of examination and
  criticism1--to them alone who1 having 
by nature the sentiment and cult  of    
art1 exercise themselves by constantly  
holding up the mirror before  it2 for   
they find in it always something new and

 varied1 and on this  very account do   
not ignore the reasons and laws that    
willingly give  consent to these        
varieties and novelties4 ,but the others
 allow  themselves to be dazzled1 and   
accept the novelty whatever it may be1  
choosing by preference the strangest and
 most unusual1 which for that  very     
reason is sure to be the least true2 and
 so they fall into double  error--into  
imitation which lands one in mediocrity1
 and into oddity  which has affinity    
with error4 ,as with both--that is to   
say1 amongst  those who do not          
depreciate novelty1 and amongst the     
others that are  seduced by the false   
attractions of mere novelty--there are  
some who are  capable of appreciating   
the good only so far as the means for   
being able  to manifest it is made      
apparent to them4 ,to these1 great      
exhibitions are  of use2 but to the     
first named they are not of use1 as they
 have no need  of them--and to the      
others even less so1 for to them they   

can do harm4    ,sidenote3 ,,the        
,,milanese ,,school ,,of ,,sculpture4   
,when1 now many years ago1 ,vela and    
others of the ,milanese school taught  a
 new and totally different way of       
looking at and treating drapery1  flesh1
 and more especially hair1 they would   
never have believed1 ,i  think1 that    
their imitators would have gone to such 
lengths1 and have so  exaggerated that  
method as to have rendered it supremely 
false1  ridiculous1 and                 
incomprehensible4 ,in fact1 things have 
got to such a  pass to-day that hair    
looks like anything but hair--more like 
stalactites or beehives1 salad or       
whipped cream2 and this last the hair   
made by some of the imitators and       
exaggerators of that peculiar way of    
seeing nature particularly resembles4   
,at the great exhibition at ,paris  one 
saw both master and scholars2 or it     
would be better to say1 the  initiator  
and the imitators4 ,vela with his       
sobriety of purpose1 full of  life1 here

 and there with rough-and-ready touches 
as art and taste  counsel1 and nature   
and harmony teach--the others1 with     
little taste1  great self-reliance1 and 
equal audacity1 striving their best to  
muddle  up everything together in a     
topsy-turvy fashion4 ,taste1 which is an
  individual sentiment1 was reduced to a
 system1 or rather a manner2  sobriety  
was transformed into hardness1 and a    
studied neglect of certain  parts1      
exchanged for a systematic and excessive
 carelessness2 and on the  contrary1 as 
if in contrast1 an affected imitation of
 little folds1  bands1 lace1 and        
polished beads and necklaces1 the       
delight and  admiration of women and    
children1 little and big4    ,sidenote3 
,,frivolous ,,and ,,affected ,,art4     
,at the exhibition in ,paris1 amongst   
the fops and the milliners this         
alluring kind of work was received with 
enthusiasm1 because a novelty  always   
makes a greater impression on the       
frivolous2 but serious people  of good  

taste1 as well as the judges1 did not   
allow themselves to be  attracted by    
such superficiality4 ,it is true1       
however1 that they were  too severe with
 works of merit1 and if it had not been 
that the limited  number of prizes      
prevented them from being more liberal1 
the jury that ,i  belonged to would have
 been to blame4 ,but it is not requisite
 for me to  repeat here what ,i said on 
sculpture1 and what ,i wrote officially 
on  that exhibition4    ,i became       
acquainted at that time with the best   
,french artists1 and they  showed me    
almost brotherly kindness4 ,i sat at    
their meetings at the  ,academy1 of     
which ,i had been a member since #ahfc1 
and was afterwards  raised to the rank  
of corresponding member1 which is the   
highest honour  the ,academy can confer4
 ,although unworthy to do so1 ,i had    
,giovacchino  ,rossini's seat4          
,sidenote3 ,,rossini',s ,,house ,,in    
,,paris4    ,rossini's house was the    
genial meeting-place of all there was of

 most  distinguished then in ,paris1 not
 only of the musical class1 but of the  
artistic and literary4 ,he had music1   
and often sat down to the piano and     
accompanied his inedited songs4 ,i      
remember two of singular beauty2 one    
most sad in subject1 words1 and notes1  
of a father from whom his little  son   
had been stolen4 ,it was a lament1      
refined1 delicate1 and touching1  and at
 the end of every verse came the        
ritornello--,chi l'avesse  trovato il   
mio piccino6 ,the words1 ,i was told1   
were by ,castellani of  ,rome4 ,the     
other song was brilliant1 strong1       
thrilling4 ,it was an  outburst of love1
 where a ,tyrolese jodel was            
interpolated and sung by  that brilliant
 imaginative genius ,gustave ,dor4 ,here
 one met with choice  conversation1     
fruitful1 instructive1 amiable1 and     
vivacious1 from which  one came forth   
with the mind more elevated and a       
greater warmth at  heart2 but4444    ,to
 that exhibition ,i sent a plaster cast 

of my bas-relief representing  the      
,triumph of the ,cross1 the marble group
 of the ,piet1 and the  model for the   
base of the ,egyptian ,vase4 ,for these 
works the great medal  of honour was    
conferred upon me4 ,in painting1        
,professor ,ussi had the  same great    
medal for his picture ,la ,cacciata del 
,duca d',atene4  ,domenico ,morelli for 
his ,torquato ,tasso1 and ,vincenzo     
,vela for his  ,dying ,napoleon1        
obtained the first-class gold medal1 but
 they also  deserved to have had the    
great medal4    ,a fine genius is       
,domenico ,morelli1 as well as a loyal  
and generous  friend1 for he greatly    
rejoiced when ,ussi obtained the great  
prize for  ,italian painting2 and ,i    
remember that he said1 ,as long as there
 is the  great prize1 be it awarded to  
myself1 ,ussi1 or any one else1 it is of
  small consequence as long as ,italy   
does not fall behind4 ,long live ,art   
and ,italy6    ,sidenote3 ,,influence   
,,of ,,the ,,paris ,,exhibition4    ,for

 the matter of that1 one art 7,i speak  
of painting7 was most worthily          
represented1 and brought forward a      
virgin element--subject to discussion   
and confirmation1 it is true1 yet       
fruitful of good result1 such as        
recalling art to its fundamental        
principle1 which is the imitation of    
nature1 and relieving young men from the
 conventional trammels learnt on  the   
benches of the ,academy 7,i wish ,i     
could say learnt in the past71  making  
them breathe a more ventilated1 healthy 
air1 placing before their  eyes that    
infinite variety and beauty of which    
nature is composed in all  its parts1 in
 all its effects1 and in all its        
forms--in the heavens1 in  the sea1 on  
the hills1 in the plains1 in the        
forests1 in the animals and  in men--and
 every one of these things always       
varying according to light1  according  
to the quietness or the emotions of     
nature1 according to  temperament1 to   
the habits of animals and men2 all of   

which things are  so well taught by     
nature to those holding a constant firm 
will to study  her4 ,this element1 ,i   
say1 appeared with but slight deviations
 at the  world's exhibition in ,paris1  
and did good4 ,it rejuvenated art1 and  
lifted it out of some conventionalities1
 whilst it placed others in bad  repute4
 ,but enough of this for the present2   
let us speak of something  else4        
,sidenote3 ,,life-,,size ,,group ,,for  
,,prince ,,trabia4    ,one of the       
reasons that spurred me on to write     
these memoirs is this3  ,allowing that  
my works may with time not be entirely  
forgotten1 ,i have  wished to register  
them all in this book1 that it should   
not occur after  a certain time that    
some copy1 some imitation1 or unknown   
piece of  sculpture1 more or less       
praiseworthy than mine1 should be       
attributed to  me4 ,for this reason1    
from the first ,i have mentioned even   
such works as  are of no great size and 
importance1 and will continue to do so1 

excluding1 be it understood1            
reproduction1 which would carry me to   
too  great lengths4 ,the ,signora ,maria
 ,galeotti1 nata ,petrovitz1 ordered    
from me a life-size group of her        
grandchildren1 sons of ,prince ,trabia4 
,this group reminds me of that most     
unfortunate robbery that ,i have  spoken
 of further back1 and this is why ,i am 
reminded of it4 ,in the  closet where ,i
 kept the money shut up that was stolen 
from me1 there was  a little of         
everything1 papers1 designs1 tools1     
books1 medals1 and  various little      
trinkets1 that were respected--that is1 
not taken away1  for they were scattered
 about on the floor4 ,in this closet ,i 
also kept  my clothes2 and for          
convenience1 or out of carelessness1    
amongst other  things ,i had left a     
straw hat there4 ,this straw hat of mine
 the thieves  had put on the head of one
 of the little ones in the ,trabia      
group1 and  it would have been really   
ridiculous to see the statuette of that 

little  boy with my great straw hat     
hiding half of his head1 had it only    
been at  another time1 because even now 
7and a good many years have passed71    
only  to think of it--no1 indeed1 it    
does not make me laugh6 ,and to think   
that  of those gentlemen thieves1 for   
there were several1 some escaped the    
claws of justice1 and some must have    
come out of college by this time1  and  
if by chance they meet me1 may smile to 
themselves under their  beards at my    
simplicity4 ,so goes the world2 it is so
 fashioned1 and has  always been the    
same1 even from the so-called           
prehistoric ages1 and no  instruction1  
either more or less obligatory1 will    
change it one atom4 ,as  for me1 when ,i
 am ,minister of ,justice and ,mercy    
7devil take it1 why  not87 ,i will have 
engraved upon all the corners where one 
now reads  ,stick no bills1 the eighth  
commandment1 ,thou shalt not steal2 or  
if  so1 the whip will be administered   
and plenty of it2 and to my  colleagues 

in favour of progress who rise up in    
arms against me ,i will  answer3 ,a     
little luxury as regards the whip1 my   
good gentlemen1 will  bring about great 
economy as regards the prisons and      
domiciliary  compulsion1 and what is    
more1 will bring about a considerable   
rise in  the funds--of public security4 
,but it is said the lash degrades       
humanity4 ,perhaps it is degraded less  
by theft8 ,in times not very  remote1   
theft was punished much more severely   
even when it was not a  very grave      
matter2 but if it was grave and         
accompanied by the breaking  open of    
drawers1 the thieves were hanged        
outright4 ,certainly this  punishment   
was excessive1 ,draconian1 and in a word
 barbarous2 and yet1  in those days     
,arnolfo built1 ,giotto painted1 and    
,dante wrote his  immortal poem4 ,be it 
as it may1 this is most certain1 that   
thieves were  then conspicuous by their 
very scarcity1 whereas to-day they shine
 by  their frequency2 and vice vers1    

,arnolfo1 ,giotto1 and ,dante then      
existed1 e questo  quanto1 as ,marchese 
,colombi would say4    ,sidenote3 ,,the 
,,whip ,,for ,,thieves4    ,count       
,antonio ,pallavicini1 a man cut out    
after the old-fashioned  stamp1--one of 
the few who in their hearts keep to the 
religion of  gratitude and affectionate 
remembrance of their dear               
relations1--gave me  the order for a    
statue of his grandfather1 ,marshal     
,pallavicini1 who was  in the ,austrian 
service under the reign of ,maria       
,teresa4 ,the ,count told  me an        
anecdote of this excellent grandfather  
that ,i wish to repeat1 so  that one may
 see how1 though in a foreign service1  
the heart--,i will not  say of an       
,italian1 for ,italy was hardly spoken  
of then1 but--of a  ,genoese and good   
republican beat4 ,here it is3 ,the      
,republic of ,genoa--,i  know not on    
what question with ,austria--had become 
discontented1 and  threatened to resist 
by force the pretension of that powerful

 ,empress1  who1 either because she was 
by nature careless and unmindful of     
public  virtue1 or because she thought  
of obtaining a better result1 decreed   
that ,marshal ,pallavicini should move  
at the head of an army to put down      
,genoese arrogance4 ,but this brave     
soldier--this worthy patriot--on  coming
 into the presence of the sovereign1    
took off his sword1 and  placing it on  
the table1 said with calm dignity--     
,sidenote3 ,,marshal ,,pallavicini4     
,your ,majesty1 it is impossible for me1
 a ,genoese1 to make war against  my own
 country2 and ,i therefore to-day give  
up this sword that ,i have so  often    
used in the defence of your empire1 that
 it may not be stained by  the blood of 
my brothers4 ,at which the ,empress     
smilingly answered--    ,take back your 
sword1 that is so well suited to you1   
and that you use  so valorously2 and as 
your service is denied us in reducing to
 obedience  your dear but obstinate     
brothers1 be at least our envoy to      

arrange the  difficulties and treat of  
peace4 ,and peace was concluded4    ,it 
must be agreed that the subject was a   
fine one and a worthy one1 and  the     
statue was made and placed in the       
cemetery of the ,certosa at  ,bologna2  
but the above-mentioned anecdote1 that  
,i would have so  willingly treated in  
bas-relief as portraying vividly the    
character of  this personage1 was not   
given me to carry out1 because the base 
was  entirely occupied by long ,latin   
inscriptions that the ,count would at   
all  costs have engraved upon it1 to set
 forth the whole family history1 and    
the reasons for his gratitude and the   
erection of the monument4    ,about that
 time ,i had to make a little monumental
 memorial of ,frate  ,girolamo          
,savonarola4 ,the reason for my having  
this order was this1--that  in          
,germany--,i do not remember in what    
town--a monument had been put up  to    
,luther1 and one of the figures that    
adorned this monument was ,fra          

,girolamo ,savonarola2 and how much to  
the purpose1 all1 excepting those  good 
,germans1 can see1 for they know        
,savonarola as well as ,i do the        
,emperor of the ,mississippi4 ,the      
promoters of this work were ,gino       
,capponi1 ,bettino ,ricasoli1 ,niccol   
,tommaseo1 ,raffaello ,lambruschini1    
,augusto ,conti1 ,cesare ,guasti1 and   
,isidoro del ,lungo4 ,i assisted at     
their  meetings1 and the idea that      
prevailed was to make the statue of     
,savonarola and place it in the         
cloisters of ,st ,mark2 but this        
intention  we did not fulfil1 because   
another commission had already been     
formed  with the same purpose of doing  
honour to ,savonarola1 and this had     
already asked for and obtained the place
 in the cloister1 the more  readily as  
the statue was already made by          
,professor ,enrico ,pazzi4 ,we          
therefore had to change our project1 and
 after many propositions it was  decided
 that the monument should consist of a  

bas-relief and bust to be  placed in the
 friar's cell4 ,this was done           
accordingly1 and there it is  to be     
found4 ,the subject of the bas-relief is
 ,savonarola before the  ,gonfaloniere  
and ,priori of the ,comune1 reading the 
,government statutes  proposed by him   
for the ,florentine ,republic4 ,on one  
of the sides or  flanks of the          
bas-relief is the youth ,savonarola in  
pensive attitude  meditating leaving the
 world and dedicating himself to        
monastic life1  and on the other one are
 represented the last moments of his    
life when  he is on the way to his      
martyrdom4 ,the bust is in bronze4      
,sidenote3 ,,monument ,,to ,,savonarola4
    ,six years have not passed since the
 honour befell me of sitting amongst    
those famous men who wanted this work to
 be made by me1 and three of  them are  
already dead4 ,gino ,capponi1 ,tommaseo1
 and ,lambruschini--they  are dead1 but 
their names and their works live1 and   
will live as long  as ,truth and ,good  

are loved and revered4    ,sidenote3    
,,universal ,,exhibition ,,at ,,vienna4 
,in #ahgc the ,universal ,exhibition at 
,vienna took place1 and ,i was named  on
 the jury in the ,italian section on    
sculpture1 in company with my  dearest  
friend ,giovanni ,strazza1 so early lost
 to his family1 to art1  and to his     
country1 which he so honoured and loved4
 ,on an occasion like  this ,i had the  
means of knowing the clear acumen and   
kind heart of my  illustrious colleague1
 be it either in his judgment on works  
of art1 or  in his intimate relation of 
friendship with our colleagues4    ,i   
will not speak of that great gay city1  
nor of the works of art in  which she is
 so rich1 nor of the ,pinacoteca1 her   
galleries and  magnificent library--for 
this is not what ,i have undertaken1 and
 these  are things that can be found in 
the guide-books2 and even if ,i wished  
to  make some observations about them1  
it would be impossible for me to do  so1
 because at that time ,i was most       

unhappy in the recent loss of my  dear  
daughter ,luisina2 and therefore1 alone 
and far from my family1 ,i  felt a void 
around me1 and a most vivid desire to   
see them again1 so  that ,i looked at   
everything most hurriedly and through a 
veil of sadness  and anguish4           
,sidenote3 ,,music ,,in ,,vienna4    ,i 
was lodged at the ,hotel ,britannia on  
the ,schillerplatz1 on the fourth       
floor1 up one hundred and thirty-seven  
steps1 in a small room1 even  smaller   
than that of my own maid-servant2 there 
was only one window1 and  this opened on
 an inner court4 ,the furniture         
consisted of a little bed1  too small1  
but soft and sufficiently clean2 a      
table1 two chairs1 a  wardrobe1 a       
looking-glass1 a dressing-table--and    
that was all4 ,all this  for the        
miserable sum of ten lire a-day4 ,i will
 say nothing about the  meals2 but the  
breakfast1 ,i mean the early one of     
coffee and milk1 a  roll and butter1 was
 sixty kreutzers--a lira and a half2 and

 with  the little refreshment of ice in 
your water 7it was in ,june71 twenty    
kreutzers more--half a lira4 ,a cigar   
was half a lira1 the washing  and doing 
up of a shirt one lira1 an ice one lira1
 and so on to your  taste4 ,for the     
matter of that1 if ,i had had a little  
of the good-humour  that my ,italian    
companions ,petrella1 ,boito1 ,govi1    
,bonghi1 ,palizzi1  ,mussini1 ,cantoni1 
,colombo1 and ,mariani had1 without     
counting ,jorick1 who  had to give and  
to spare1 ,i should have remained there 
longer1 and  should have amused         
myself--for the city is really          
beautiful1 most  animated and bright1   
especially in the evening1 well lighted1
 with fine  theatres and music4 ,oh1 for
 music1 you must hear it at ,vienna6 ,i 
do not  mean by music ,german music--for
 on the contrary1 ,i love our own       
,italian2  but ,i speak of the          
execution1 of which we have 7setting    
aside  exceptions7 but a most imperfect 
idea4 ,it cannot be otherwise4 ,there   

the  musician has an assured position4  
,there there is an institute where he   
is trained to be a professor of         
music--that is to say1 as far as        
execution goes--where music is provided 
for1 and nothing else is taught4        
,during the day he studies1 and in the  
evening he plays1 and the next day  the 
same thing over again1 and so on until  
the day comes for receiving  holy       
unction4 ,i defy any one1 therefore1 not
 to play well6 ,i heard one  ,sunday1 at
 the ,st ,stephen's ,cathedral1 music so
 sad and so sweet that ,i  was almost   
carried away by it1 it seemed as if it  
were a sweet and  loving lament of the  
angels4 ,these seemed not to be the     
voices of the  instruments of this      
world1 but a something superhuman1      
celestial1 that  filled one with        
emotion4 ,oh1 music comes directly from 
heaven6 ,the  harmony of sounds is      
something of a more intimate1 secret1   
and  mysterious nature than the harmony 
of lines and colours2 for what          

constitutes the beauty1 harmony1 and    
attraction of exterior things1 is  not  
there alone in appearance1 but radiates 
from the spirit within3  therefore it is
 that the beautiful1 emanating from the 
divine harmony of  sound1 is more       
exquisite and more living1 because it is
 the  manifestation of the soul and the 
spirit without encumbrance4 ,our        
intellect grasps hold of it and falls in
 love with it1 because it is  itself    
also a part of that immortal beauty to  
which it feels an  irresistible         
attraction to unite itself4 ,but the    
impression of the  beautiful1 visible or
 invisible1 we receive imperfectly1     
because the  senses through which it is 
revealed to us are only so fitted as to 
enable us to receive it in part--that   
part which gives us pleasure1 for  its  
entire splendour would kill us4 ,harmony
 has laws of order and unity1  and      
relations and affinities1 inexplicable4 
,we feel that certain  combinations of  
notes express sorrow1 others joy1 others

 love1 and so  on2 but given without    
that order and unity1 without those     
relations and  affinities1 they express 
nothing1 and are only unpleasant sounds4
 ,why is  it so8 ,oh1 friend ,biaggi1 if
 ,i speak profanely1 make the sign of   
the  cross and correct me6    ,sidenote3
 ,,the ,,charm ,,of ,,music4            
,sidenote3 ,,nature ,,is ,,not ,,always 
,,beauty4    ,the same can be said of   
all things that have form and colour1   
that are  animate or inanimate4 ,there  
is in nature1 in the configuration of   
certain parts of the country and certain
 places1 a something1 ,i know not  what1
 of gloominess and melancholy1 that1    
when we look at them1 fills us  with    
sadness4 ,others1 on the contrary1 are  
bright1 happy1 and joyous4 ,it  is just 
the same with one's self1 and not by    
reason of the more or less  fertility in
 this or sterility in that1 nor by      
reason of the state of  one's soul1 but 
entirely from the effect of lines and   
colours4 ,and so it  is1 again1 with    

things animate4 ,there are beautiful    
animals1 and animals  that seem         
ugly--some1 in fact1 absolutely         
repulsive--and why8 ,perhaps  because   
they are harmful8 ,yet no2 for there are
 most beautiful animals  that are really
 bad and most dangerous--for example1   
the lion1 the  tiger1 and the leopard2  
whilst others1 as for instance a spider1
 a  mouse1 a tarantula1 a black beetle1 
a worm1 and a scorpion1 which do no     
harm1 or very little1 seem to us so     
ugly1 so repulsive1 that we are  obliged
 to turn away from them4 ,be it observed
 that this sort of  aversion is felt the
 most by those natures that have the    
most exquisite  feeling and love of the 
beautiful--the reason being that these  
animals  have in their form a harmony   
certainly necessary to the universal    
order  of nature1 but most ungrateful to
 our eyes2 whereas the lion1 tiger1     
leopard1 and above all1 the horse1 are  
beautiful and attractive to them4       
,therefore1 in nature1 to our way of    

seeing1 there is the beautiful and  the 
ugly--there are beings that attract and 
others that repulse us4  ,certainly     
there are1 ,i am answered4 ,what sort of
 a discovery do you  think that you have
 made8 ,very well1 ,i am delighted with 
this answer1  because the above tirade  
was made by me for the benefit of those 
who  affirm that all is beautiful in    
nature1--in fact1 their formula is1     
nature is beauty4 ,instead of which1 ,i1
 with what ,i have said and am  about to
 say1 would wish to demonstrate that    
ugliness has a negative  harmony all her
 own1 and only in conformity with her   
cold and obtuse  vitality2 and          
therefore1 nothing of it radiating on   
us1 we are not  attracted by it1 but    
rather repulsed4 ,in as far as the      
animal is perfect  in living harmony1 so
 much the greater the light that        
emanates from him4  ,man1 who is the    
most perfect of animate creation1       
radiates so much the  greater light in  
proportion as the interior harmony of   

order1 of  justice1 and of love makes   
its impress upon and forms the body that
  encloses it4 ,in the serenity of the  
brow one observes the majesty of  order1
 in the erect bearing of the person and 
the temperate firm use of  words the    
dictates of justice1 and love is in the 
intense calm look of  the eyes and      
almost happy expression of the mouth1   
which1 with the eyes1  are1 as it were1 
the windows of the soul1 from which that
 beauty  radiates that attracts and     
impels to admiration and to love4       
,sidenote3 ,,st ,,stephen',s            
,,cathedral4    ,man1 therefore1 is the 
most living manifestation of the        
beautiful1 and  he is also the being    
that most thirsts for the enjoyment of  
it4 ,he looks  for it everywhere--in the
 splendour of the heavens1 over the     
expanse of  the sea1 on the high        
mountain-sides1 in the mysterious       
shadows of the  forests1 and in the     
solitude of the valleys1 when the dying 
sun casts  languidly over them its      

violet light4 ,at night1 when man and   
beast rest  after the fatigues of the   
day1 and silence and quiet begin1 he    
feels a  tender harmony1 delicate and   
mysterious1 as the memory of the days of
  innocence1 or as the hope of a future 
life4 ,the harmony of night is1 as  it  
were1 the breath of sleeping nature4    
,look1 now1 into what a labyrinth ,i    
have been dragged by the music ,i  heard
 at ,st ,stephen's6 ,the campanile of   
this cathedral is pointed and  very     
high2 it can be seen from all parts of  
the city4 ,one sees at once  that it is 
the campanile of the ecclesia major4 ,i 
wished to see it4  ,the cathedral is    
always the first thing that attracts the
 stranger's  curiosity when he arrives  
in a place1 because therein is expressed
 the  religious sentiment of the people 
who have built it1 which is the first   
of all sentiments1 and then follows that
 of the citizen4 ,first the  cathedral  
was made by the people of old1 and then 
the town-hall1 and in  the same order ,i

 also look at them and think of them4 ,i
 wished to see  it1 therefore2 but being
 at a distance1 ,i stopped a cab and    
said to the  driver that ,i wanted to go
 there4 ,bravo6 and without knowing a   
bit of  ,german6 ,i told him in three   
languages--in ,italian1 in ,french1 and 
in  ,latin 7macaronic1 of course72 but  
it was dense darkness to him4 ,i        
pointed with my hand to the campanile in
 the distance1 and this time he         
understood6 ,he answered1 ,ja1 ja1 and  
whipping up his horses1 off he  went for
 some time2 but as we never arrived1 ,i 
again pointed to the  campanile4 ,ja1   
ja1 and on we went1 but away from the   
place ,i  indicated4 ,then ,i stopped   
him1 paid him1 and got out4 ,on the     
venture1 ,i  jumped into an omnibus1    
just to leave the man1 who was going who
 knows  where1 returned to the centre1  
and got out at ,oberring4 ,there ,i     
found a  friend1 who took me in a short 
time on foot to ,st ,stephen's1 where ,i
  heard that wonderful music1 the       

remembrance of which still excites me to
  ecstasy4 ,this does not often happen  
to me1 but it does sometimes4           
,sidenote3 ,,canova',s ,,maria          
,,christina4    ,from there--that is1   
not from my ecstasies1 but from ,st     
,stephen's--,i  went to the ,church of  
the ,augustins1 where ,canova's famous  
monument in  honour of ,maria ,christina
 is4 ,as to its being beautiful1 ,i say 
nothing1  but an artist who was with me 
extolled it to the seventh heaven2      
though  to me1 with the music of ,st    
,stephen's still in my ears1 it seemed  
that  ,canova in other works had arrived
 at greater perfection1 both as regards 
general conception and as regards       
sentiment of truth4 ,but1 ,i repeat1 it 
may have been the music that made it    
seem to me--and ,i say so in all        
reverence--a little conventional4 ,i was
 there in ,vienna1 however1 to  form    
part of the jury on the sculpture of    
to-day1 and not to criticise  the art of
 the past2 so that a little want of     

appreciation or a judgment  too lightly 
given may be forgiven me4 ,for the      
matter of that1 ,canova is  ,canova1 and
 the braying of donkeys1 as the proverb 
says1 does not reach  heaven4           
,,chapter ,,xxii4         ,,the ,,palace
 ,,of ,,the ,,exhibition ,,at           
,,vienna--,,why1 ,,with ,,my            
,,attributes       ,,of ,,president1 ,i 
,,was ,,in ,,such ,,haste--,,michael    
,,angelo ,,and       ,,garibaldi--,a    
,,viennese ,,cabman--,,the ,,camerini   
,,monument--,,duke                      
,,camerini--,,an ,,anecdote ,,of ,,his  
,,life--,,statue ,,of ,,michael ,,angelo
 ,,in       ,,the ,,future--,,the       
,,centenary ,,festival ,,of ,,michael   
,,angelo--,,signora       ,,adelina     
,,patti--,a ,,greedy ,,young ,,man ,,of 
,,little ,,judgment--,,the              
,,favard ,,monument4      ,the ,palace  
of the ,exhibition was built on the     
,prater4 ,it cost twenty  millions of   
florins 7fifty millions of lire71       
without counting1 be it  remembered1 the

 sum expended by other nations on their 
special  buildings4 ,it is not my       
intention to describe this immense      
edifice1 and  all the smaller ones      
around it1 in that large and most       
delightful  ,prater4 ,i will not even   
speak of the ,exhibition1 excepting only
 as  regards my department--that of     
sculpture4    ,without expectations or  
merits on my part ,i was elected        
,president of the  department in        
sculpture2 and this honour was most     
prized by me1 because  it enabled me to 
hasten on the work in our section with  
all the alacrity  compatible with the   
number and importance of the works      
submitted to our  judgment2 and this1   
indeed1 was not a trifling matter1 for1 
between  statues and groups1 there were 
two hundred and fifteen1 without        
counting  large and small busts4 ,there 
was a great deal of ,german sculpture2  
but  with few exceptions1 it was        
somewhat hard and conventional4 ,ours1  
with  some honourable exceptions1--and  

amongst them ,monteverde's group of     
,jenner1 fine in the choice of subject1 
well grouped1 and admirably             
modelled--and a few other works1--were  
like the usual old woman's tale1        
trivial in conception and ungainly in   
form4 ,it is painful to say so1 but  the
 ,french sculpture at this ,exhibition  
surpassed1 and more than  surpassed1    
ours2 and if it proved possible to      
divide the number of  medals between the
 ,french and us1 it is due to the       
condescension of the  ,french members of
 the jury1 ,dubois and ,masson1 to the  
,germans1 and to my  obstinacy in       
upholding our art as much as ,i possibly
 could4    ,sidenote3 ,,universal       
,,exhibitions ,,are ,,fairs4    ,ugh6   
these blessed universal exhibitions6    
,what good do they do to art1  to true  
art1 to great art8 ,none whatever4 ,i   
believe1 at the best1 they  only bring  
about the sale of some smart humoristic 
or coarse statuette1  and nothing more4 
,i am aware that ,vela's ,napoleon ,i41 

which was sold  in ,paris1 will be      
brought up in opposition to this4 ,that 
is an exception  to the rule2 and       
then--who knows8--if ,napoleon ,,iii4   
had not been on the  throne1 perhaps    
,vela's beautiful statue would have come
 back to the  artist's studio at ,turin4
 ,many fine ,italian statues returned at
 that  time2 and did not the ,jenner    
come back from ,vienna8 ,these universal
  exhibitions--let us say it in plain   
words--are fairs and markets1 in  which 
the merchandise most appreciated is     
something odd1 humoristic1 or           
ridiculous4 ,but of this ,i have spoken 
elsewhere1 and do not like to  retrace  
my steps4    ,i have said that the      
office of president was grateful to me  
because it  enabled me to hasten on the 
work in our section2 but ,i have not    
given  the reason for this hurry4 ,the  
poor artists1 the greater part of them  
strangers1 that had never seen ,vienna1 
felt a longing to do so2 and when  at   
mid-day1 after three hours of work1 ,i  

suspended the meeting until one         
o'clock1 they said to me1 ,mr           
,president1 have a little patience2 be  
reasonable4 ,we have never seen anything
 of this city4 ,we will work as  much as
 you wish in the mornings1 but only let 
us be free the rest of  the day4 ,and ,i
 answered3 ,have a little patience      
yourselves4 ,let us  work now that we   
are at it3 it is for this reason we have
 come here4 ,as  soon as we have        
finished1 we will rest and amuse        
ourselves1 and will  enjoy all the      
beautiful objects in the town and in the
 country2 but now  that we are here1 we 
must stick to work4 ,good-bye2 ,i shall 
see you again  shortly--at one o'clock4 
,and with very long faces they went     
away4 ,but  why1 wherefore1 all this    
hurry--this uninterrupted work1 without 
rest8  ,this is why3 ,i was there alone2
 and when ,i am alone1 away from home1  
without one of my daughters1 whatever   
may be the city or country1  however    
beautiful and attractive1 everything    

bores me to a superlative  degree4      
,when1 in answer to my colleagues1 ,i   
said that as soon as our  work was      
finished we would amuse ourselves and   
see and enjoy all the  wonders of the   
town1 ,i repeated mentally to myself1 ,i
 will take the  fastest direct train1   
and without leaving the railway         
carriage1 in  thirty-six hours will get 
back to ,florence2 and ,i did so4       
,sidenote3 ,,work ,,and ,,amusements    
,,at ,,vienna4    ,notwithstanding all  
my persistence1 we took1 however1 one or
 two  half-days' rest1 and each one of  
us went the way he liked best to        
satisfy his desire of amusing himself4  
,as for me1 ,i wrote long letters  home1
 and in the evening went to the theatre1
 where they were singing  7and really   
singing7 ,wagner's ',lohengrin'2 or     
joined1 in brotherly  symposiums1 the   
,italian1 ,german1 ,hungarian1 or       
,french members of our  jury4 ,the      
,viennese and ,hungarian members gave us
 a dinner1 and it went  off in a most   

gay and friendly fashion3 the toasts    
burst forth1 one  after the other1 in a 
bright rapid line of fire4 ,there is no 
doubt about  it--,art fraternises all   
nations4 ,our speeches1 half ,french and
 half  ,italian and ,hungarian-,latin1  
were spoken freely1 and without giving  
even  a thought that a phrase or word   
might offend the political opinion or   
oratorical taste of any one4 ,everything
 was good1 everything applauded1  and we
 drank to everything4 ,i remember a     
,hungarian artist1 who1 drinking  to the
 toast of ,art and the ,italians1 said  
that ,italy had always been  great2 and 
if1 in days gone by1 she had been able  
to glory in ,michael  ,angelo1 to-day   
she gloried in ,garibaldi6 ,and we drank
 even to this1  although the comparison 
seemed to us to be very far-fetched4    
,but ,i  repeat1 when once we opened our
 mouth1 it did not much matter what came
  out of it4 ,i also spoke1 and was     
applauded2 but if ,i wanted to repeat   
what ,i said1 ,i should have to draw    

upon my imagination1 because ,i don't   
remember a word of it4    ,sidenote3    
,,dinners ,,at ,,vienna4    ,we enjoyed 
other evenings of feast and merriment1  
but none like this  one4 ,we were       
invited to a dinner given by the        
,italian ,general  ,commissioner1 which 
went off most splendidly1 but was       
naturally more  dignified4 ,we were all 
,italians1 but not all artists2 for1 in 
fact1 the  greater number were          
scientific men--and where there are     
scientific men1  all is at an end1 and  
seriousness at once walks in4 ,the      
imaginative1  frisky1 and reckless words
 of the artist do not venture to come   
out at  such meetings2 and the talk     
there gains as much in rhetoric as it   
loses  in living art1 sincerity1 and    
unexpectedness4    ,sidenote3 ,,an      
,,adventure ,,with ,a ,,cabman4    ,we  
were also invited by his ,imperial      
,highness the ,archduke ,ranieri to an  
entertainment1 which was most splendid1 
cordial1 and brilliant4 ,the  ,archduke 

talked to every one in his own language2
 and if he expressed  himself with the  
same exactness and propriety to the     
,english1 ,russians1  or ,spaniards1 as 
he did to us ,italians and to the       
,french1 he is really a  wonderful      
polyglot4 ,at this fte something        
happened to me which proves  that the   
,viennese cabmen are more quarrelsome   
than ours4 ,this is how it  was4 ,i got 
into the cab at the hotel1 and said that
 ,i wanted to go to  the palace of his  
,highness ,archduke ,ranieri1 to remain 
there two hours1  and then return to the
 hotel2 and for this the price of six   
florins  7fifteen lire7 was agreed upon4
 ,having stayed my time at the fte1 ,i  
descended to look for my charioteer4 ,he
 was not there4 ,to be sure1 the  cab   
was there1 and the poor beast in harness
 seemed to be deep in  thought or       
sleeping2 but the coachman was not      
there4 ,he was looked for  everywhere1  
in all the neighbouring beer-houses1 but
 could nowhere be  traced4 ,so in a rage

 ,i had to go up again1 and coming down 
about half an  hour afterwards1 ,i      
called him1 but he was not there4 ,the  
poor beast  stood with his nose nearly  
on the ground1 ,i do not know whether   
more  from sleepiness or hunger2 and ,i 
in a rage1 as may well be imagined1 got 
inside the cab to wait for him4         
,finally1 after about half an hour the  
man returned1 and ,i abused him roundly2
 but it was like speaking to the  wall1 
for he understood nothing1 and off he   
drove4 ,on arriving at the  hotel ,i put
 the six florins briskly into his hand2 
he refused to take  them1 and ,i could  
not understand why4 ,the porter of the  
hotel  intervened1 and said that the    
cabman had agreed to wait at the fte    
for two hours1 instead of which ,i had  
kept him there three hours4 ,i          
explained to the porter the whole thing1
 and what a rascal he was6 ,but  not to 
discuss the matter any longer1 ,i paid  
even for the hour that ,i  had to wait  
that canaille's convenience4 ,really ,i 

would have paid  anything to have been  
able to say two or three words after my 
own heart  in ,german to the miserable  
scamp4    ,sidenote3 ,,monument ,,to    
,,count ,,luigi ,,camerini4    ,my duty 
was now ended4 ,i gave a last look at   
the beautiful ,schiller  ,platz1 where  
my hotel was1 saluted the ,academy of   
,fine ,arts1 then  building1 and with   
open heart1 filling my lungs with a     
great breath of  country air1 ,i flew in
 thought to beautiful ,florence1 to my  
family1 and  to the studies ,i loved4 ,i
 plunged into the most comfortable      
railway  carriage that ,i could find1   
and never again turned to the right or  
to  the left4 ,i think that ,i was the  
first of the ,italian jury that returned
  to our beautiful country4    ,at this 
time ,i was making the monument to ,duke
 ,silvestro ,camerini that  had been    
ordered from me by his illustrious and  
most noble nephew1 ,count  ,luigi4      
,senatore ,achilli ,mauri had first     
spoken to me of it on his  behalf1 and  

had shown me a design by ,signor        
,gradenigo of ,padua1 in which  there   
were to be two statues that the ,count  
wished me to make4 ,the  design did not 
please me1 and ,i answered that ,i would
 make the monument1  but that ,i wished 
to compose it after my own fashion4 ,the
 ,count was  content4 ,i made a design2 
he saw it1 it pleased him1 and all was  
settled  in a friendly way by a few     
frank words1 without all those          
precautions of  contract1 seal register1
 witnesses1 and caution that are        
invented by  distrust to protect one    
from rascals4 ,it is thus that honest   
men deal  with honest men2 and of such  
is ,count ,luigi1 and of such by ,god's 
mercy  am ,i1 and ,i can proclaim it    
loudly in the broad light of the sun4 ,i
 am  certain that1 of the many persons  
who have given me commissions1 not one  
has had any question with me1 nor even  
the slightest feeling of                
unpleasantness6 ,the thought of this1   
and the certainty of being able to      

proclaim it coram populo1 is to me a    
consolation so complete and  grateful1  
that it forms1 so to speak1 my          
happiness4    ,sidenote3 ,,count ,,luigi
 ,,camerini4    ,amongst those who have 
given me commissions1 ,count ,luigi     
,camerini has  been one of the most     
courteous--a true friend4 ,every time   
that ,i went to  ,padua or ,piazzola on 
account of the work ,i was engaged on1  
besides the  glad welcome that he and   
his amiable wife gave me1 he managed to 
arrange  some excursions for our pastime
 and pleasure--now to ,venice1 now to   
,passagno1 now to ,vicenza1 and         
sometimes even farther2 and he pushed   
courtesy and friendship to the extent of
 taking us all as far as ,turin1  on the
 occasion of the inauguration of        
,cavour's monument4 ,as ,i said1 to  do 
this1 besides being amiable and kind1   
one must also be rich1 and he  is rich  
indeed4 ,i remember that one day1 during
 one of these excursions1  we found     
ourselves in a first-class railway      

carriage with the ,princess             
,troubetzkoi and her husband1 ,duke     
,talleyrand4 ,we all talked together    
more or less about everything--all      
except the ,duke1 who gathered himself  
up in his corner1 with his              
travelling-cap pulled down on his       
forehead1  intent on reading a ,french  
newspaper4 ,he had never lifted his eyes
 on  us1 so absorbed did he seem in his 
reading4    ,i do not know how it was   
that the conversation fell on the       
heaviness of  the taxes4 ,i am greatly  
afraid that it was ,i who started the   
subject1  because on this key ,i am     
wonderfully eloquent2 ,i storm about the
 laws1  agents1 cashiers1 everybody1 and
 everything4    ,let them lay a heavy   
hand1 ,i was saying1 on play1 on luxury1
 on  vices1 on property1 but leave in   
peace the labour1 industry1 and talent  
that are the bonds of civilisation and  
health1 because the public  conscience  
rebels against this4    ,sidenote3      
,,description ,,of ,,the ,,monument4    

,the good ,duke did not even move2 for  
him it was as if ,i was neither in  the 
wrong nor the right4 ,my friend         
,camerini1 perhaps to allay my          
indignation1 quietly smiled and said--  
,you are right2 certainly these taxes   
are very heavy4 ,but what can one  do   
about it8 ,one must pay1 and that is    
all----    ,certainly1 ,i continued1    
repeating his favourite word1 one must  
pay--and ,i pay2 but it is too          
much--these taxes are too high4    ,i   
agree1 ,i agree4444 ,just imagine that  
,i pay annually in taxes 7beyond  the   
indirect ones1 you understand71 two     
hundred and fifty thousand  lire6    ,at
 the mention of this sum the ,duke      
turned slightly towards ,camerini1      
looked fixedly at him a short time over 
his spectacles1 then took them  off very
 slowly1 folded them and put them in    
their case1 set aside his  newspaper1   
and entered into a conversation with him
 that only came to an  end when we      
separated4 ,oh the power of gold6 said  

,i to myself4444 ,let  us return to the 
monument4    ,it is composed thus3 on   
the first foundation a great urn1 above 
which  rises the base1 on which is      
placed the seated statue of the ,duke in
 a  thoughtful attitude1 dressed in the 
clothes he wore1 and wrapped in a       
cloak4 ,at the sides of the urn1 which  
form two semicircles1 are two  statues4 
,beneficence is standing and offering   
money to a youthful  workman1 who1 in an
 attitude of affectionate gratitude1    
wishes to kiss  the hand that with such 
loving wisdom has lifted him out of     
misery1 and  ennobled him by the        
sanctity of labour1 so that this payment
 is only the  legitimate recompense of  
his work4 ,this group represents one of 
the  virtues of ,duke ,camerini1 who    
made use of his very large rent-roll to 
alleviate the misery of his             
fellow-beings1 and give them            
encouragement  and work2 and certainly  
no one more than he could feel the      
usefulness of  work1 because from being 

a humble workman 7although of a         
respectable  family7 he elevated himself
 to the highest rank of society1 and to 
riches as honourable as they were great4
 ,corresponding to this statue1  on the 
other side kneels ,gratitude1 who       
scatters flowers on the urn2 and        
although gratitude is one of the virtues
 that adorned that great man1 as  ,i    
shall explain hereafter1 yet this statue
 refers to that sentiment of            
affectionate remembrance by which his   
nephew1 ,count ,luigi ,camerini1  wished
 to honour the memory of his munificent 
uncle4 ,the lower base is  ornamented by
 a bas-relief1 representing ,duke       
,camerini when1 during one  of the      
inundations of the ,po1 an immense      
population of that desolate  country    
were left without a roof to their heads 
and without bread1 he  rescued them1    
encouraged them1 and helped them1 giving
 bread and work to  all1 ordering the   
work of new embankments immediately to  
be undertaken1  avoiding most wisely by 

so doing greater disaster1 and saving   
from  misery and hunger that wretched   
population4 ,this bas-relief is an      
admirable work of ,professor ,luigi     
,ceccon1 of ,padua2 and this1 as well as
  the execution of all the architectural
 and ornamental parts of the  monument1 
,count ,camerini and ,i intrusted to    
him4    ,sidenote3 ,,character ,,of     
,,duke ,,camerini4    ,sidenote3        
,,anecdote ,,of ,,duke ,,camerini4      
,the moral character of ,duke ,camerini 
is worthy of being remembered and       
honoured4 ,it is certainly not my task  
to relate his life1 but ,i cannot  pass 
by in silence a most notable instance in
 it1 the knowledge of which             
strengthened the study and affection    
that ,i put into the modelling and      
chiselling of this monument4 ,when the  
youth ,silvestro1 in the capacity  of   
simple labourer1 worked at ,i know not  
what improvement of land in the         
neighbourhood of ,ferrara1 he used to go
 during the hour of rest to a  small    

eating-house to recruit his strength    
with his usual temperance4 ,it  happened
 one day that he found himself without  
money1 and as he was a  daily customer1 
frankly1 with an honest man's           
conscience1 he said to the  host1 ,i    
will pay you to-morrow4 ,but this man1  
who was hard and brutal1  answered that 
when one has no money1 one should not   
order anything to  eat2 to which the    
youth was about to reply1 when a young  
gentleman1 who  happened by chance to be
 shooting in those parts1 and had come  
in to  take some refreshment1 seeing the
 embarrassment of the young labourer    
and the hardness of the host1 tossed a  
bit of money on to the counter1  saying 
to the latter1 ,take your pay for what  
this man has eaten here4  ,the host took
 the money and returned the change2 but 
the excellent  gentleman said1 ,no2 give
 the rest of the money to this youth4   
,he seems  to me to have the air of     
being an honest man1 and he can use it  
another  day when his own money fails   

him4 ,it was not such a small matter    
either1 for the money he had given to be
 changed was a golden ,genova4  ,then on
 one side excuses were made and         
restitution offered1 whilst on  the     
other a mild but determined insistence1 
which ended in the shaking  of hands and
 leave-taking4 ,from that day forward   
,silvestro ,camerini had  no more need  
to go on credit1 not because the        
remainder of that piece of  gold could  
place him for ever beyond necessity1 but
 because those  insulting and brutal    
words had been a lesson to him1 with his
 high and  noble spirit1 never again to 
place himself in a similar position4    
,camerini went out from that house much 
moved in spirit and full of  gratitude  
towards the gentleman1 whose name he    
inquired and ever kept in  his memory4  
,in the meantime1 by good conduct1      
economy1 and work1 he was  able to save 
something2 and as by nature he had a    
mind much superior to  his condition1 he
 was able to take upon himself the      

direction of some  works1 and always    
advancing in his activity1 economy1 and 
good  administration1 he gradually made 
a considerable fortune1 all of which  he
 put into land4 ,but the noble gentleman
 who had so opportunely helped  him1    
either through bad administration1 too  
much liberality1 or some  other reason1 
lost his fortune1 and was obliged to    
sell all his lands to  pay his debts4   
,one day the last villa belonging to    
him1 and the one he  cared most for1 was
 about to be put up to auction2 and that
 day1 so full  of sadness for him1      
turned out perhaps the brightest and    
happiest of his  life4 ,camerini1 who   
had already become rich1 bid at the     
auction for it1  and having obtained it1
 went to the unhappy gentleman and      
presented it  to him4 ,his surprise1    
joy1 and incredulity are more easily    
imagined than  described4 ,he said1     
,what is the meaning of this8 ,in what  
way8  ,wherefore8 ,is it perhaps a      
restitution8 ,so much has been stolen   

from me  that---- ,yes1 really1 answered
 ,camerini1 it is a restitution1 but    
not of anything stolen4 ,and he then    
told him1 or rather reminded him1  of   
the youth that he had benefited so many 
years before4 ,the worthy  gentleman at 
first held back1 and wished to refuse   
the gift2 but at last  overcome by      
emotion and admiration1 he wept and     
embraced his friend--a  true friend     
indeed1 for all the others he had known 
in his prosperity  had disappeared with 
it4    ,sidenote3 ,,noble ,,restitution4
    ,this anecdote deserves to be told1 
because it draws to the life the        
lovable1 grateful1 and most liberal     
character of ,duke ,camerini4 ,it was   
told me by ,count ,antonio ,pallavicini 
of ,bologna1 the friend and             
contemporary of ,duke ,camerini and the 
other gentleman1 whose name1 ,i  regret 
to say1 ,i do not remember4 ,the        
anecdote that ,i have just told1  and   
many others that illustrated the        
character of this great man1 as  well as

 the nobility and generosity of his     
worthy nephew1 who intrusted  to me the 
execution of this monument1 spurred me  
on and facilitated my  undertaking4     
,sidenote3 ,,rejected ,,offers4    ,if  
the reader has a good memory1 he will   
remember that elsewhere ,i have  spoken 
of my offers to execute works for their 
mere cost--that is to  say1 my proposals
 to give my time1 work1 and study gratis
 et amore  ,dei4 ,he will remember1     
also1 that these offers were not        
accepted1 and  that having been taught  
by so many lessons of this kind1 ,i     
advised young  artists to abjure and    
chase from their mind these ,utopian    
ideas that  experience had fully shown  
me could not be carried out4 ,to confirm
 them  in this opinion1 ,i must now add 
a new and more striking instance of a   
work offered by me that was not         
accepted2 and ,i trust that the account 
of this new fact will not be wanting in 
importance1 and will serve as a  good   
lesson4    ,sidenote3 ,,centenary ,,of  

,,michael ,,angelo4    ,when my         
excellent friend ,commendator ,giuseppe 
,poggi had finished the  beautiful      
,piazzale ,michael ,angelo1 and before  
the inauguration of the  monument       
designed by him1 with the statues of the
 divine artist himself1  had taken place
 7and this occurred before the          
centenary71 he proposed  that the statue
 of ,michael ,angelo should be placed in
 a commanding  position under the middle
 arch of the ,loggia that fronts on the 
,piazzale2 and it was his intention 7for
 which ,i thank him from the  bottom of 
my heart7 that this statue should be    
made by me4 ,knowing1  however1 that on 
account of its colossal proportions1 as 
well as the  importance of the subject1 
it would require no small expense1 and  
as  even then the municipality foresaw  
its present straits1 he said to me1  in 
a pleasant and friendly manner1 that it 
was his hope1 as well as that  of       
others1 that ,i would make the statue   
for its mere cost4 ,i am ready1  said ,i

 to myself4 ,i like the subject1 and ,i 
can satisfy my friend in  his legitimate
 pride of citizen and artist1 and also  
place there a sign  of my veneration for
 ,michael ,angelo1 and a testimony of   
affection and  disinterestedness to my  
country1 but at no slight sacrifice1 it 
is  true--that is to say1 by working at 
least a year gratis et amore ,dei4  ,i  
am mistaken2 there is something else ,i 
should add--that is the  income-tax and 
tax on the exercise of my art1 c41 that 
the tax agent  would naturally have     
insisted on exacting1 even if it had    
been proved to  him that ,i was working 
to gain nothing4 ,but ,i had given my   
word1 and  said ,i am ready2 and when ,i
 say ,i am ready1 ,i stick to it4 ,in   
the  meanwhile time passed1 the         
centenary drew near1 and the            
municipality  decided nothing about the 
statue2 and1 so far1 all was well--it   
meant  that they found it inconvenient  
to give even those few thousand lire    
required for the marble and the roughing

 out of the statue2 and wished  to save 
them4 ,about this ,i say nothing1 for1  
in fact1 ,i am in favour of  saving2 but
 now comes the best of it4 ,when the day
 for the famous  centenary arrived1 the 
festivities were conducted admirably1   
with an  exhibition of all ,michael     
,angelo's works1 a visit to his tomb in 
,santa  ,croce1 to his house1 which is a
 most precious museum1 and1 at last1 to 
the ,piazzale1 where the monument was   
inaugurated4 ,there was music in the    
great hall of the ,cinquecento at the   
,palazzo ,vecchio1 illuminations on  the
 great ,piazzale and on the ,colli1 and 
everything was done with the  utmost    
order and decorum1 thanks to the        
exquisite tact of our president  of the 
committee for organising the centenary  
festivals1 ,commendatore  ,ubaldino     
,peruzzi4 ,among these festive meetings 
one was arranged to take  place in the  
old ,senate ,hall1 which had for its    
object the pronouncing  of eulogies on  
the great artist2 and to all1 the       

,academy of ,fine ,arts  and the ,della 
,crusca ,academy were invited1 as       
,michael ,angelo was not  only to be    
honoured as an artist supreme in the    
imitative arts1 but also  as a          
philosopher1 literary man1 and poet4    
,this was splendidly done by  the two   
,presidents of the ,academy of ,fine    
,arts and the ,della ,crusca  ,academy1 
,commendatore ,emilio de' ,fabris and   
,commendatore ,augusto ,conti4  ,they   
were surrounded by the members of these 
two ,academies united in  solemn        
assembly1 and the semicircle was filled 
by a crowd of  distinguished artists1   
literary and scientific men1 foreign and
 native1  and was honoured by the       
presence of his ,highness ,prince       
,cazignano4 ,my  friend ,de' ,fabris    
spoke of ,michael ,angelo as an         
architect1 and my friend  ,conti        
enlarged upon him as philosopher1       
citizen1 and poet4 ,they had  begged me 
to read a few words on that occasion2   
but ,i1 being aware of my               

insignificance1 and1 to speak frankly1  
my incapacity to think and speak  on so 
great a subject1 at first refused to do 
so2 then ,i tried jotting  down         
something in writing1 and made my friend
 ,luigi ,venturi read it--and  as he did
 not dislike what ,i had written1 ,i    
accepted1 and on the day  before        
mentioned ,i read my little scrap of    
writing1 in which ,i treated            
particularly of ,michael ,angelo as a   
sculptor4    ,that day the idea of the  
statue was again brought forward1 and   
some of  the gentlemen1 in the name of  
the committee1 came to my studio and    
asked  me if ,i would agree to make the 
statue of ,michael ,angelo for the mere 
cost and expenses4 ,i answered that ,i  
would1 and added that ,i had  promised  
to do so once before1 but that nothing  
more had been done  about it4 ,in the   
meanwhile a subscription list was sent  
the rounds1 and  my illustrious friends 
,meissonnier and ,guillaume1 who had    
come to  ,florence for the centenary    

festivals1 put their names down each for
 a  hundred lire4 ,and then1 after all1 
as ,god willed it1 nothing more was     
done about it2 and in fact1 on the spot 
where the statue was to have  been      
placed1 there is now a caf restaurant1  
very clean and  convenient1 and of a    
summer's evening it is enlivened by     
concerts of a  band of music4 ,looking  
at the thing from this point of view1 it
 is  certainly much more comfortable and
 amusing than to see a statue of        
,michael ,angelo standing there4        
,sidenote3 ,,fiasco ,,about ,,the       
,,statue ,,of ,,angelo4    ,the fact is1
 that there are sometimes fruitful      
enthusiasms and sometimes  barren       
enthusiasms3 the fruitful enthusiasms   
are those in which one  finds the       
quickest and most perceptible enjoyment4
 ,in these days 7it was  #ahgf7 there   
were people running in crowds to see and
 hear ,signora  ,adelina                
,patti--spending an amount of money that
 they would have had  great difficulty  

in spending on an object less sensible1 
or1 rather1  less enjoyable1 such as in 
fact a statue might be1 that promises to
 give  you the rather meagre enjoyment1 
it is true1 of making its appearance    
two or three years after it has taken   
the money out of your pocket4    ,it is 
true1 however1 that the enjoyment of    
song and sound passes in a  moment--its 
waves die upon the air1 and our ears    
catch their last  echo--while the view  
of a statue1 with all its beauty and    
meaning1  remains1 so to speak1 to all  
eternity4 ,but this is a rather subtle  
and  abstract consideration that not all
 can understand4    ,thinking over it   
well1 ,i do not believe the fiasco about
 the statue of  ,michael ,angelo        
occurred for want of enthusiasm for art 
or statuary1 or  much less for the      
subject4 ,the deuce take it6 ,michael   
,angelo is out of  the question2 besides
 belonging to the world1 he is a        
,florentine1--and  then1 too1 enthusiasm
 has not been wanting in any town in    

,italy1 and  certainly not in ,florence1
 even when it has been a question of    
immortalising in marble men oftentimes  
very unlike ,buonarroti4 ,besides1  did 
one not see about this time1 and in fact
 during these very days1  several       
thousands of lire got together for a    
bust of ,gino ,capponi8 ,and  why was   
this8 ,if ,i had asked to make that     
statue1 it might have been  supposed    
that the artist was not liked1 and that 
no confidence was felt  in him2 but it  
was not so3 in fact ,i was looked for   
and even begged to  make it1 which is   
natural when one desires to have work   
done for nothing  but the pure cost and 
expenses4 ,confidence in the artist1    
therefore1 was  not wanting3 there must 
have been some other reason1 and ,i have
 found it  is this1 that work asked for 
and offered for nothing seems almost as 
if  it had no attraction2 no one wants  
it4 ,one must1 if one can1 get as much  
pay as possible4 ,listen to this other  
instance2 they grow like cherries4      

,sidenote3 ,,fiasco ,,of ,,another      
,,statue4    ,when ,i had made the      
,christ after the ,resurrection1 for    
which my good  friend ,ferdinando       
,filippi di ,buti gave me the order1 the
 idea came to  the worthy syndic1       
,signor ,danielli1 to erect in his      
village 7which  seemed as if it ought to
 be sacred to ,minerva1 it was so buried
 in a  forest of olive-trees7 a statue  
in honour of ,professor del ,rosso1 who 
had been such a worthy representative of
 science and of his native  place4 ,the 
good and most lively ,signor ,danielli  
was full of ardour to  carry out his    
project2 and to obtain its success1 he  
pressed me to  accept this commission at
 the smallest possible price1 almost for
 its  mere cost4    ,i accepted4 ,the   
subscription list was sent the rounds1  
and ,i know that  my illustrious friend 
,professor ,conti1 an old pupil of ,del 
,rosso1 gave  himself a great deal of   
trouble in getting subscriptions2 but   
neither he  nor any one else obtained   

the desired result1 and the statue      
remains  where it was--in the future4   
,in the same way1 it seems1 ended the   
affair  of the bust of ,pius ,,ix41 that
 a pious committee in this city proposed
 to  have cut in marble and placed in   
our cathedral4    ,sidenote3            
,,ingratitude4    ,so1 as ,i have said1 
these instances grow like cherries4     
,let us remember1 although above ,i have
 spoken about the necessity of  getting 
well paid1 yet at times1 either as a    
matter of duty1 friendship1  or         
gratitude1 one can and one ought to work
 for little4 ,i remember a  young       
scholar of mine who enjoyed a little    
pension1 given to him by a  gentleman   
from his village1 who1 to enable the    
young man to work from  life1 went so   
far as to allow him to model his head1  
and1 to encourage  him1 desired that he 
should put it into marble1--but before  
giving him  the commission1 wanted to   
know what the expense would be4 ,the    
youth1 in  telling me this1 asked me    

what he ought to ask for it4 ,i         
answered1 ,you  must ask nothing2 the   
gentleman is over and above good to give
 you the  pension4 ,would you also ask  
him to pay for the bust8 ,you will give 
this  answer3 ,i have asked my master   
about the expense of the marble and the 
roughing of it out1 and he has answered 
me that one hundred lire is  necessary  
for the marble and two hundred for the  
roughing it out2 as to  finishing it1 ,i
 will finish it myself1 and so learn to 
work on marble1  because no one can call
 himself a sculptor who does not work on
 the  marble himself4    ,but the youth 
showed no judgment1 did not follow my   
advice1 and asked  the gentleman a      
thousand lire1 and the avidity and      
ingratitude thus  shown by the person he
 had benefited so disgusted him1 that he
 did not  let him make it4 ,when ,i     
heard how matters had gone1 ,i did not  
fail to  call him an ass1 and he really 
was one4 ,born and bred a peasant1 he   
had  learnt nothing in town by mixing   

with educated young men4 ,he was tall of
  person1 and endowed with uncommon     
strength2 he used to exercise           
himself--making it more a business than 
a simple pastime--at the game of  forma1
 and1 challenged or challenger1 was     
always the winner4 ,he died  from       
breaking a blood-vessel in his chest2   
and for the matter of that1  as no one  
was left behind to weep for him1 for he 
was an orphan1 and as  he had no talent 
or judgment1 it was better so4          
,sidenote3 ,,building ,,one',s ,,own    
,,monument4    ,let us therefore        
understand each other4 ,one must always 
get one's pay1  excluding the case or   
cases of gratitude like the one ,i have 
mentioned  above1 and even between      
friends1 there must not be one that     
gives and  the other that takes4 ,i     
remember now1 many years ago1 that      
,luigi  ,acussini made my portrait1 and 
,i his2 and later1 ,cisere painted my   
portrait and that of my wife1 and ,i    
made a bust of his wife1 amici cari  e  

borsa del pari4 ,presents don't answer  
well1 and therefore it is rare  to find 
those who make them2 and if any one with
 heart and no head does  so1 he makes a 
fiasco4    ,a singular taste1 and one   
that ,i can enter into completely1 is   
that of  preparing one's own place of   
burial whilst living2 and for those who 
can1 besides the burial-place1 also the 
chapel and monument4 ,it does one  good 
to see1 whilst living1 the place where  
one will sleep the last  sleep4 ,amongst
 those who agree with me in this1       
besides ,marchese ,bichi  ,ruspoli of   
,siena1 and ,signor ,ferdinando ,filippi
 di ,buti--whose monuments  ,i made some
 fifteen years ago1 and who are still   
living1 hale and  hearty1 so that ,i    
even think that the thought of death and
 the sight of  the monuments prolong    
their lives--is the ,baroness ,favard de
 ,langlade1  who also wished to have her
 monument made2 and after having had the
  illustrious architect ,giuseppe ,poggi
 construct the beautiful chapel in  the 

park of the villa at ,rovezzano1 which  
is adorned by the beautiful  paintings  
of ,annibale ,gatti1 she ordered from me
 the monument wherein  her body is to   
rest4    ,sidenote3 ,,the ,,favard      
,,monument4    ,the difficulty of this  
kind of work is not to give umbrage to  
the  modesty of the person who gives the
 commission4 ,at first sight it seems   
like vanity and pride to order one's own
 monument2 but besides the fact  that he
 who orders a monument does not order it
 for himself alone1 but  also for his   
family1 the artist composes his work in 
such a way as not  to give the least    
offence by adulation and flattery1 which
 is the more  contemptible in the person
 who offers it in measure as the        
adulated  person is in a high position4 
,the artist1 however1 who has a proper  
respect for his own dignity1 and wishes 
that of the person in question  also to 
be respected1 will find a way of making 
his work1 even though it  be grandiose1 
so as to enable both him and the person 

who is to die to  look at each other in 
the face without blushing4    ,the      
subject that ,i treated for the ,favard 
monument was the ,angel of the          
,resurrection1 who1 poised on his wings1
 offers his hands to the dead  woman1   
who is in the act of rising1 to lead her
 to heaven4 ,she has half  lifted       
herself up on the sarcophagus where she 
was laid out1 and her  expression shows 
her happiness in awakening to eternal   
day4 ,the only  adulation--excusable1 ,i
 think--that ,i offered to that lady was
 having  made her appear younger than   
she was1--not more beautiful1 for one   
can  still see that she must have been  
most beautiful4 ,i regret that this     
work of mine is almost hidden--first of 
all1 because it is far from  town1 as ,i
 have already said1--at ,rovezzano2 for 
although the noble lady  has given      
orders to have it shown to any one who  
asks to see it1 yet the  double         
difficulty of the distance and the      
asking prevents many--those  who are    

lazy and who are lukewarm1 who are the  
most in number--from  being able to see 
it4 ,it is still worse as concerns my   
,christ after the  ,resurrection1 which 
is on a hill in the neighbourhood of    
,buti1 a little  village1 nearly hidden 
from view and out of hand1 between ,pisa
 and  ,lucca4          ,,chapter        
,,xxiii4         ,,pius ,,ix4 ,,objects 
,,to ,,having ,,me ,,make ,,his         
,,bust--,i ,,go ,,to ,,rome ,,to        
,,see ,,the ,,pope--,,the ,,exhibition  
,,at ,,naples--,,again ,,on ,,idealism  
,,and       ,,naturalism--,,the         
,,masters ,,of ,,italian                
,,melody--,,vincenzo ,,bellini ,,and    
,,his ,,monument--,,conclusion4      ,i 
narrated1 all in its proper place1 how  
it happened that ,i was not  enabled to 
make ,king ,victor ,emmanuel's portrait2
 and it is necessary for  me now to     
explain how ,i did not obtain the       
concession to make a bust of  ,pius     
,,ix4 ,marchese ,pompeo ,bourbon del    
,monte1 the ,president of the ,working  

,men's ,catholic ,association in        
,florence1 had the intention of giving  
me  an order to make a bust of the      
,pope1 to place in a niche in our       
,duomo1  with an inscription            
commemorative of the great pontiff's    
passage through  ,florence1 and his     
consecration of four bishops there4     
,naturally the ,pope  was first asked   
whether he was willing that his bust    
should be made and  should be placed in 
our ,duomo4 ,with both of these         
propositions the ,pope  showed his great
 satisfaction1 and he was therefore     
asked the favour of  giving some        
sittings to the sculptor2 but on hearing
 my name1 he refused  to do so1 because1
 having made ,cavour's monument1 he did 
not wish me to  take his portrait4 ,to  
speak the truth1 this species of censure
 on the  part of the ,pope was most     
unpleasant to me4 ,as long as some of   
the  prejudiced journalists of the      
extreme party1 in blaming me for having 
executed this work1 assailed me on the  

ground that some of the nude            
allegorical figures 7just imagine1      
children of seven67 were obscene1 ,i    
let it pass2 but the condemnation of the
 ,holy ,father was a great  vexation to 
me4 ,as ,monsignore ,archbishop ,cecconi
 had been the  intermediary1 ,i wrote   
him a letter expressing my regret1 and  
went over  the story of the monument1   
and how ,i had accepted it1 and what    
expression ,i had given to it1 saying   
that ,i had not thought ,i was doing    
any harm1 and that ,i was extremely     
pained to have met with the ,holy       
,father's displeasure1 and begging      
,monsignore to make known these         
sentiments of mine to the ,pope4 ,in    
fact the ,pope heard of my letter1 or   
at least a part of it1 and answered that
 he had never doubted my  sentiments or 
my good intentions1 but for all that he 
was not willing to  have his portrait   
taken by me2 and that1 to prevent the   
matter from  appearing ad hominem1 he   
would not give permission for it to be  

made  by any one else4    ,sidenote3    
,,audience ,,of ,,pius ,,ix4    ,a few  
months after this1 wishing to go to     
,naples to see the ,italian             
,exhibition1 ,i stopped on my way in    
,rome1 and saw the ,pope1 but not in a  
private audience4 ,nevertheless1 he     
spoke benevolently to me1 and said1     
,dear ,dupr1 what fine works are you    
doing now8 ,i who1 ,i must admit1  never
 find myself embarrassed by any one1    
stood there perfectly  nonplussed1 and  
was not able to utter a word2 and that  
poor saintly old  man1 to put an end to 
my embarrassment1 continued1 ,i pity    
you2 the  political vicissitudes and the
 noises of war distract the mind of the 
artist1 and are1 in fact1 opposed to the
 development of his genius4  ,then      
turning to my daughter1 he said1 ,and   
you1 too3 well done1 my  sculptress2 ,i 
bless you together with your father4    
,it really gave me pleasure to see him  
again1 and listen for the last  time to 
that vibrating1 and1 at the same time1  

benevolent voice4  ,something within me 
told me that he would soon be missing to
 us2 and in  fact1 barely eight months  
after1 he died1 and but a few days after
 the  king1 to whom1 during his last    
moments1 he had sent his benediction2   
and  report has it that he even said he 
would have gone himself to comfort  the 
king1 whom he personally loved1 during  
his last hours1 had he not  been really 
so ill himself4 ,these words of his     
gained for him the  goodwill of those   
who were not his friends4    ,sidenote3 
,,exhibition ,,at ,,naples--,,idealism4 
,now ,i must speak of the ,exhibition at
 ,naples1 and most particularly of  the 
naturalistic element that manifested    
itself there in sculpture4 ,it  deserves
 being studied with attention1 so as to 
enable young artists of  good purpose1  
and for whom ,i have most particularly  
written these  memoirs1 to acquire      
something that may be useful to them4   
,naturally the  vast question of realism
 and idealism rises again to the        

surface4 ,those  who know me1 know that 
,i am neither a realist nor an idealist1
 be it  understood1 as is generally     
intended and practised4    ,idealism1 in
 my opinion1 is nothing else but a      
species of vision that  the artist      
creates by strong love in his mind when 
he thinks of a given  subject4 ,idealism
 is therefore the idea of the subject1  
and not in the  least the idea of the   
parts of the form4 ,it is true that even
 these are  associated pleasantly       
together in the mind1 but it is wrong   
and false to  believe that we can grasp 
hold of them only by the help of memory1
 and  without having nature before us4  
,the idealist1 as ,i should understand  
him1 seeks in nature for the models     
appropriate to his idea and his         
subject4 ,he does not content himself   
with one alone1 because he does not     
find in one1 or even in two1 the        
multiplicity of parts by which his idea 
is composed4 ,from one he takes the     
several masses and movement1 and  will  

take great care in these never to change
 from his model2 from  another he will  
take the head1 or the hands1 or other   
parts of the body  in which the model   
for the general masses may have been    
defective1 and  will be careful that in 
age and character they be not dissimilar
 from  the principal model--that is to  
say1 the model that he has used for the 
general form4 ,if he departs here or    
there from this simple method1 the      
idealist will fall into academical      
conventionalism1 or into the vulgar  and
 defective4 ,corrections of the model's 
defects made from memory bring  us to   
conventionalism1 and the exact imitation
 of the model alone drags  us down to   
the vulgar and defective1 because it is 
humanly impossible  that one model can  
have in himself1 besides the whole1 all 
the  perfections of parts that          
constitute beauty1 which is the aim of  
art4  ,such1 and nothing else1 is the   
idealist2 and so am ,i1 and such has    
always been my teaching4    ,sidenote3  

,,realism4    ,now let us see the       
realistic4 ,the naturalistic1 to my way 
of seeing1 is  simply intolerant of long
 study of the many rules and dogmas of  
the  academicians that teach one to make
 statues in very nearly always the  same
 way1 with the same measures and with   
the same character--be it a  ,virgin or 
a ,venus1 a ,messalina or an ,ophelia1  
and so on4 ,he is in love  with his own 
subject1 and wishes to give it          
expression in its true  character and   
with its own individual expression1 and 
even with those  particularities and    
imperfections that distinguish it from  
others4  ,bartolini did so in his       
,ammostatore1 in his ,putti for         
,demidoff's  table1 and in almost all   
his works2 and so did ,vela with his    
,napoleon  ,i4 and his ,desolazione2 and
 lastly1 although in a much more minute 
manner1 did ,magni with his ,reading    
,girl2 and up to this point ,i am       
naturalistic1 and stand up for it4 ,but 
in these days there is another  species 

of naturalistics--better call them      
realistics--who love truth  and nature  
to the extent of accepting even the ugly
 and bad in form and  the useless and   
revolting in idea4 ,and truly here ,i am
 neither with  them1 nor can ,i advise  
any one to hold in esteem this school1  
that ,i  should rather be inclined to   
call the hospital or sewer of art4 ,but 
what  ,i have said so far is enough1 for
 elsewhere ,i have touched upon the same
  subject1 and do not want to repeat    
myself1 but only to mention the         
question again1 because at the great    
show in ,naples the naturalistic  school
 appeared in sculpture in all its       
audaciousness1 and1 ,i must  frankly    
say1 in all its power1 worthier of a    
better cause and better  intentions2 and
 this1 it is presumably to be hoped1 may
 be at last more  easily recognised by  
the young men who look for the truth1   
even  wallowing in ugliness1 than from  
those who fill their heads with the     
idea of looking for the beautiful in    

their memory and conventionalism4  ,from
 this it is evident that ,i have a      
predilection for the naturalist  who    
caresses an idea and the idealist who is
 a faithful and not a timid  friend of  
truth4 ,the artist is not a servile     
copyist of nature--of ugly  nature2 not 
the imitator of statues1 even though    
they are beautiful2 not  the slave of   
the name and teaching of the masters1   
ancient and modern4    ,sidenote3       
,,naturalists ,,and ,,idealists4    ,i  
like the artist to be free in his       
imaginations1 free in his feeling1  free
 in his way of expressing himself and in
 his method1 but yet  strongly and      
tenaciously bound to nature and the     
beautiful4 ,by this  means we could have
 more good artists and fewer mediocre   
ones2 but as  long as there is official 
teaching it is useless to hope for it4  
,government schools1 in spite of the    
difficulty of admission and  advancement
 from one class to another1 will always 
have too many  scholars1 amongst whom   

some--the very few1 those who are really
 destined  by nature for art--will have 
lost too much time in long academic     
courses2 the others1 the many1 will have
 lost it entirely1 because it is        
difficult with official teaching for any
 graduate to be expelled from  school on
 account of tardy development or want of
 talent4    ,sidenote3 ,,influence ,,of 
,,academic ,,teaching4    ,i do not say1
 indeed1 that young men ought not to    
study1 or ought to  study only a little4
 ,quite the contrary4 ,they ought to    
study very  much--study always2 but with
 freedom--perfect freedom in their way  
of  seeing and feeling and expressing   
the multiformity of nature2 and as  this
 freedom does not and cannot exist in   
official teaching1 young men  ought to  
select a master after their own taste4  
,certainly masters who do  not belong to
 these academies will accept but few    
scholars1 and will  retain still        
fewer--that is to say1 the best1 those  
who give promise of  succeeding--and the

 rest they will send away4 ,and here is 
the great  gain1 because the minor      
arts--subsidiary1 so to speak1 to the   
fine arts1  will take possession of     
these young men1 who1 instead of        
becoming  mediocre artists1 will become 
good workmen4 ,official teaching in the 
fine arts ought to be confined to       
architecture2 in fact1 there it ought   
to be amplified by the study of         
mathematics1 engineering1 and its       
mechanical application4 ,the purse and  
the safety of citizens must surely  be  
protected4    ,this little digression on
 teaching1 which ,i have elsewhere      
treated more  at length1 has sprung up  
and been jotted down here after having  
seen the  exhibition of the works of art
 of the ,neapolitan school4 ,i say the  
school1 and not the academy--,i should  
better say the grades of the            
naturalistic school of ,neapolitan      
sculpture4 ,it is undeniable that       
various works in sculpture1 exposed to  
the solemn trial of the  ,neapolitan    

,exhibition1 show that the young        
sculptors have emancipated  themselves  
outright from the trammels of academical
 teaching1 and have  entered with full  
sails into the interminable sea of      
nature4 ,this sea is  beautiful1 full of
 agitation and life1 and in its         
greatness rouses the  desire of research
 into the unknown2 and to him who       
navigates therein  with strength and    
purpose1 promises unknown lands1 rich in
 supreme  beauty4 ,but it is easy       
enough1 by steering one's boat badly1 or
 missing  one's direction1 to get       
stranded or dashed to pieces against the
 rocks4    ,sidenote3 ,,signor          
,d',,orsi',s ,,parasites4    ,signor    
d',orsi exposed a group in plaster      
representing the ,parasites4  ,nothing  
could have been better imagined than    
those two 7,i don't know how  to call   
them7 creatures4 ,brutified by food and 
wine1 they sleep or  drowse on a        
triclinium1 leaning against each other4 
,they are a literal  imitation2 and in  

this is all the merit of the work4 ,it  
is not minute  imitation1 that          
battle-horse of small minds1 but really 
the true  expression of the conception  
and intention of the artist2 but the    
idea  is hideous1 enormously hideous1 so
 that to many it appeared disgusting    
and revolting2 and ,i felt on looking at
 the work two opposite  feelings--one   
that drove me from it1 and another that 
kept me fixed to  the spot4 ,the        
ugliness of the subject and its forms   
repelled me2 the  knowledge and art by  
which it was expressed attracted me1 and
 forced me  to admire the talent of     
,signor d',orsi4 ,this man1 said ,i to  
myself1  has not come out of the        
academy2 he is looking for a passage    
through  the vast sea of nature1 and a  
shore to land on4 ,will he find it8     
,sidenote3 ,,amendola',s ,,cain ,,and   
,,his ,,wife4    ,a group in plaster of 
,cain and his ,wife is the subject      
exhibited by  ,signor ,giov4 ,battista  
,amendola4 ,considered from the point of

 view of  expression1 it is of wonderful
 truthfulness4 ,this man1 guilty of     
fratricide1 cursed by ,god1 stands there
 transfixed to earth2 the anguish  that 
oppresses him overcomes his arrogance2  
and not even the sweet words  and       
caresses of his companion are able to   
appease that sullen brow and  ferocious 
look4 ,but ,signor ,amendola1 who has so
 well entered into the  human sentiment 
of passion1 pain1 and rage that agitates
 the heart and  upsets the mind1 has    
made a mistake in the physical character
 that he  has1 with intention1 given his
 figure4 ,for since ,cain and his wife  
are  of a savage ugliness1 more         
resembling the family of the orangoutang
 than  the human being1 he seems to be a
 follower of ,darwin's theories1 which1 
if they are desolating as regards       
science and human dignity1 are          
absolutely revolting when represented in
 art4 ,the truth is1 that ,i think  the 
primitive type of our race1 although    
fierce and uncultivated1 was  much more 

beautiful than it appears to-day in our 
young men and young  girls1 who are with
 difficulty built up by preparation of  
iron and  sea-baths4 ,then beauty was   
undoubtedly coupled with vigour and     
strength2  but bad habits1 mistaken     
education1 effeminacy1 and vice1 have so
  diminished its vigour and physical    
beauty1 that if one desired nowadays  to
 make a ,cain1 an ,abel1 or an ,adam1 it
 would be difficult to find  amongst our
 young men a model who even distantly   
resembled them in their  splendid strong
 beauty4 ,it is also strange and absurd 
to look for them  amongst the savages of
 ,new ,zealand4 ,i admire ,signor       
,amendola's strength  of conception and 
expression1 but ,i blame his application
 of it in the  selection of his types4  
,he also is an artist that does not seem
 to be an  academical student2 and if to
 originality of subject and truth of    
expression1 of which he has given proof 
in his group of ,cain and his  ,wife1 he
 adds study and love in the research of 

the beautiful in  nature1 he will get on
 and be an artist1 and what counts more1
 an  original artist1 but otherwise he  
will not4 ,to make ,cain1 and even his  
wife1 one must not1 therefore1 look for 
a model amongst the  anthropophagi or   
amongst the young men who live between  
,doney's and the  ,piazza del ,duomo4   
,first of all1 the type of such a       
subject1 like any  other1 must be       
clearly in the mind of the artist1 and  
then1 with a great  deal of study and   
love1 he must seek for it in nature1    
abandoning in  part or entirely those   
places where such types have no         
existence4    ,sidenote3 ,,type ,,of    
,,cain4    ,when ,i made my ,cain1 ,i   
had the good fortune to find the model  
without  the slightest difficulty2 and  
the model ,i used was a strong and      
beautiful man1 and what was more1 he had
 feeling for action and  expression1 so 
that ,i copied him to the best of my    
ability1 without even  giving a thought 
to the classical style so much          

recommended by  ,academicians1 although 
not copying with servility all the      
little  accidents of veins1 wrinkles1   
and so forth 7nowadays some people even 
imitate the corns and glands74 ,i       
answered the ,signora ,laura ,bianchi of
  ,siena in these same words1 or        
something like them1 when she asked me1 
at  the instance of ,thorwaldsen1 who   
was in intimate relations with the      
family1 and made the monument to her    
husband1 ,cavaliere ,giulio1 what  style
 ,i had used in making that statue1     
which he had not yet seen4 ,later  ,i   
became personally acquainted with this  
distinguished artist1 at a ball  in     
,casa ,larderel at ,leghorn1 in #ahde1  
and explained this by word of  mouth1   
modifying my expression1 because dignity
 of name and years must  ever be        
respected by young men1 and he being an 
,academician1 might have  been offended 
by the harshness of my words on the     
classical style4    ,i will continue my 
examination of the naturalistic         

,neapolitan sculpture4  ,signor         
,raffaele ,belliazzi exhibited a group  
in plaster1 representing  the ,approach 
of a ,storm1 and a sleeping ,calabrian1 
each the size of  life4 ,in these works 
the artist shows a real sentiment for   
truth in the  expression of the woman   
holding the little girl firmly by the   
hand1 both  of them with their heads    
bent down1 eyes tightly shut to avoid   
the sand  that the wind is blowing with 
great force into their faces--their     
quick  step and close clinging garments 
blown about them1 showing the violence  
of the wind and approach of the storm4  
,it is1 if you will1 a common  subject1 
not very attractive1 and at best more   
suitable to be rendered  in small       
proportions than in life-size2 for      
nothing that has great  movement and    
lightness of touch can well be          
reproduced in large size in  statuary4  
,now there is nothing more full of      
movement than clothes blown  about by   
the wind2 the eye can hardly see them1  

much less retain an  impression of them1
 and therefore the artist is obliged    
rather to  indicate them as they        
possibly might be1 than definitively or 
accurately  to reproduce them1 as he    
should in a large work4 ,i repeat1 these
  momentary impressions are excusable1  
and may even succeed in being           
praiseworthy1 if they limit themselves  
to expression in small figures  with    
rapid touches1 after the manner of a    
sketch2 but in great  dimensions they   
are not4 ,the other work of ,signor     
,belliazzi1 ,the  ,sleeping ,calabrian1 
is a very beautiful study from life1    
most accurate  and pleasing4 ,signor    
,belliazzi is of the naturalistic       
school2 he loves  nature1 but he does   
not feel1 or does not care to devote his
 thought to1  what there is in nature of
 choice1 attractive1 and great1 be it   
either  in conception or in form4 ,it   
is1 however1 also true that neither of  
his  works can be put down as bad and   
ugly4    ,sidenote3 ,,works ,,of        

,,signor ,,belliazzi4    ,one who loves1
 feels1 and reproduces nature with      
refinement and grace1  seems to me to be
 ,signor ,constantino ,barbella1 as it  
is shown in his  little terra cotta     
group called ,a ,love ,song4 ,it        
consists of three  young girls singing  
as they walk along1 their arms          
interlacing each  other4 ,they are      
dressed in the rich and peculiar costume
 of the ,abruzzi  mountains2 and this   
dress on these figures1 so young and so 
beautiful1  flexible and lifelike in    
their movement of walking1 the joy      
expressed in  their faces for the charm 
and virtue of song1 make an admirable   
composition which one can look at with  
ever new pleasure4 ,here the small  size
 of the figures1 and the material in    
which they are made1 is all  forgotten1 
and it seems as if one could hear the   
song1--the very breath  and joy of those
 young girls4 ,this peaceful work seems 
to be one of the  most beautiful of the 
,neapolitan naturalistic school1 and in 

this  measure ,i like the naturalistic4 
,sidenote3 ,,neapolitan ,,sculpture4    
,the study of nature1 so felt and       
understood1 draws the artist nearer to  
the ideal conception--that is to say1 to
 the reproduction of beautiful  nature  
in all its most varied forms2 it opens  
the mind to ideas and  serious thoughts 
of loveliness and grace1 for which      
,phidias1 ,giotto1  ,orgagna1 and       
,michael ,angelo were celebrated1 and   
will remain so to the  end of the world4
 ,the study of the material imitation of
 nature1  especially when it is         
defective and ugly in conception and    
form1 besides  rendering these          
particular statues disagreeable1 drives 
the artist away  from the ideal         
conception of monumental works1 to which
 sculpture should  be specially devoted4
 ,the design for the monument to        
,salvator ,rosa1 the  work of ,signor   
d',orsi and ,signor ,franceschi1 go to  
prove the truth of my  assertion4       
,these few words on ,neapolitan         

sculpture are said to prove how much and
  how far the naturalistic school is to 
be accepted2 and ,i have selected  these
 examples because in them are           
demonstrated the power1 audacity1  and  
error1 as well as the beginning of a    
healthy and fruitful  innovation1       
provided it be upheld and sustained by  
the sentiment of the  beautiful4        
,sidenote3 ,,bellini4    ,delightful    
,naples1 rich in vineyards and          
orange-trees1 with her splendid  sky and
 enchanting sea1 in which the city      
mirrors itself1 and ever  rejoices and  
sings1 recalls to my mind the beautiful 
school of ,italian  melody of           
,scarlatti1 ,pergolesi1 and ,bellini4   
,bellini1 a name beloved and  venerated 
by all who value beautiful melody--whose
 song is so passionate  and graceful1   
expressing in its suave sweetness       
passion and love1 rage  and remorse1 and
 creating dramatic situations from the  
very notes  themselves1 more than from  
the words2 ,bellini1 a master without   

pedantry  or artifice1 clear without    
being common1 profound without being    
abstruse1 and really of the future      
7because ,i believe that both thought   
and ears will soon be tired of being    
obliged to listen too attentively  to   
catch1 here and there1 rari nantes in   
gurgite vasto some half  phrase obscure 
and slegato72--,bellini1 ,i say1 who is 
indeed a great  man1 is soon to have a  
monument erected to him4 ,this monument 
was to  have been made by me1 and ,god  
only knows how willingly ,i would have  
worked to have made a statue of that    
graceful and strong genius6 ,that  work1
 however1 has fallen into excellent     
hands2 for ,giulio ,monteverde1  whom ,i
 love and esteem1 is to be the fortunate
 artist4    ,but if ,i am glad that this
 important and most sympathetic work has
  fallen into good hands1 ,i am none the
 less sorry not to have it to do        
myself1 the more so that the way it was 
taken from me seems inexplicably        
strange4 ,this is how it was4 ,some     

years back ,i had a commission from     
,marchese del ,toscano1 of ,catania1 to 
make the bust of the ,maestro  ,pacini4 
,at that time ,i was also asked by the  
same ,marchese1 who was then  syndic of 
the town1 if ,i would be willing to make
 a great monument to  ,bellini1 that the
 city and province proposed to put up to
 their great  fellow-townsman4          
,naturally ,i met such a request with   
pleasure1 although  it was accompanied  
by considerations of economy that1      
whilst they were  not in the least to   
diminish the grandioseness of the       
monument1 in view  of the place where it
 was to be erected1 and the dignity of  
the subject1  led him to suppose 7and in
 this the worthy gentleman was not      
mistaken7  that the artist would have to
 be discreet in his demands1 so as to   
facilitate the work of the organising   
committee4 ,i answered as a             
disinterested artist who was desirous of
 doing the work should4 ,tell me  the   
sum at your disposal1 indicate the size 

of the place where you wish  to erect   
the monument1 and ,i shall make you a   
sketch for it which1 ,i  hope1 will give
 you satisfaction2 for ,i shall not look
 in the least to  my interest1 as this  
great man is so dear to me1 and ,i      
highly approve  the idea you have had of
 doing him honour4    ,sidenote3 ,,the  
,,monument ,,to ,,bellini4    ,in the   
meanwhile things proceeded very slowly2 
the sums of money  collected were not   
sufficient to make the monument of the  
proposed size1  and to this effect they 
wrote me after some time had passed2    
when at  last1 one fine day1 a letter   
arrived from the secretary of the       
municipality1 saying that the sum had   
been collected for the ,bellini         
monument1 that the municipality intended
 at once to have the work begun1  and   
that1 with this object in view1 the     
syndic would soon forward the  order of 
the commission to me4 ,naturally1 ,i    
looked for the letter from  the syndic1 
which did not keep me long waiting2 but 

,i leave it to the  reader to judge of4 
,the ,marchese del ,toscano was at that 
time no longer syndic of ,catania1  and 
in his stead there was another1 whose   
name ,i do not remember2 for ,i  have   
the good fortune to forget the names of 
those who treat me badly1  and so bear  
them no resentment4 ,i say this merely  
for the sake of truth1  that no one may 
suppose me possessed of a virtue that ,i
 have not4 ,i have  read somewhere1 but 
,i do not remember where1 that the      
person offended  engraves in porphyry   
the name of the offender1 and the nature
 of the  offence2 whilst on the other   
side it is but traced in the sand1 that 
the  slightest breath of wind cancels4  
,this may be true2 but as regards me1 ,i
  must confess candidly that the very   
reverse occurs3 and ,i thank ,god for   
it1 and so live on most happily1 and my 
blood gains in colour and  vitality     
every day that ,i grow older4           
,sidenote3 ,,monteverde4    ,here is the
 sense1 if not the very text1 of the    

,signor ,sindaco's letter3  ,it is some 
days since my secretary wrote to you1 to
 ask if you would  accept the order for 
,bellini's monument for this city4 ,it  
must be  finished in eighteen months4   
,answer at once1 for ,i have no time to 
lose1  and otherwise we shall appeal to 
,monteverde4 ,one cannot deny that this 
epistolary style is of an enviable      
brevity and clearness4 ,i answered  that
 ,i had received the letter from the    
secretary1 but as he had  announced to  
me that the syndic himself would write1 
,i had waited for  this letter so as not
 to have to answer both1 because ,i also
 had no time  to lose4 ,i said that ,i  
could not accept under such close       
conditions1 and  with such limited time2
 and as to appealing to ,monteverde1 he 
did well1  as he was a most talented    
artist1 but ,i doubted whether even he  
could  accept for the same reason--want 
of time4 ,monteverde was given five     
years' time1 and the price increased not
 a little from what was proposed  to me4

 ,my best wishes to the artist are that 
he may be well inspired and  make an    
excellent work2 that the good ,catanese 
may have reason to be  satisfied with   
their way of proceeding2 and that the   
monument to  ,vincenzo ,bellini may in  
its lines recall the passionate phrases 
of  melody of the divine master4        
,sidenote3 ,,the ,,end ,,of ,,my        
,,memoirs4    ,here my memoirs come to  
an end4 ,those who have followed me with
 open  trusting minds1 know me as if    
they had been with me from a child4     
,they  know my humble origin2 they      
remember my early years when ,i wandered
 here  and there with my father in      
search of work he found little of1 and  
that  with difficulty2 my attempts to   
study1 to satisfy an inward yearning    
that ,i knew not how to appease2 the    
difficulties in my position of          
satisfying that craving2 the efforts    
that ,i made to content it1 and the     
dangers to which a quick nature         
abandoned to itself is exposed4 ,they   

have learnt how ,i chose for my         
companion a young girl as judicious and 
good as she was gentle and beautiful1   
who was my providence and my  angel1 the
 educator of the family1 and an example 
of temperateness1  patience1 and faith  
to me 7who am so intolerant and easily  
angered71 and  whose loss ,i feel even  
more heavily to-day1 when ,i think that 
by ,god's  mercy ,i could now have made 
her life more peaceful and easy4    ,i  
wished to explain my principles on      
questions of art1 on teaching1 and  on  
the relations that the young artist has 
with his colleagues1 with his  masters1 
and with his subjects4 ,i wished to     
prove that justice and  temperance1 in  
judging and sentencing works of art1 are
 the foundation  of urbane and friendly 
artistic life4          ,,index4        
,agostini1 ,raffaelo1 #ccc4             
,ala-,ponzoni1 ,marchese1 #aic et seq4  
,alberti1 ,dr1 #bje1 #cfb1 #cij4        
,albertini1 ,augusta1 of ,verona1 #chf4 
,aleardi1 #afa1 #afb1 #cgg1 #chf4       

,aloysio ,juvara1 ,tommaso1 #bae1 #bdc1 
#cfd4        ,altamura1 #cfh4           
,amendola1 ,giov4 ,battista1 #ddd4      
,ammanati1 ,gaetano1 #h4                
,angelico1 ,fra ,giovanni1 #agj4        
,angelini1 ,cavaliere1 #bbg1 #cfh4      
,angelo1 ,michael1 #agj4                
,antoinetta1 ,princess1 of ,naples1 #cf4
        ,ara1 ,carlo1 of ,palermo1 #ada1
 note4        ,arcangeli1 ,giuseppe1    
#aci1 #aed4        ,arese1 ,count1 #aig4
        ,arrivabene1 ,count1 #cjg4      
,augusta1 ,princess1 #ahj4              
,baccani1 #bf4        ,baccio d',agnolo1
 #aha4        ,balzico1 the sculptor1   
#bae1 #bbg4        ,barbella1           
,constantino1 #ddg4        ,barbetti1   
,angelo1 #i4        ,bardi1 the         
rougher-out1 #cic4        ,bargagli1    
,cavaliere ,luigi1 #bjh4        ,barili1
 #aha4        ,bartolini1 #ff1 #ga1 #gi1
 #hj1 #if1 #ig1 #ii1 #ajj1 #ajf1 #aaf1  
#aag1 #aah1      #aai1 #abj1 #acb1 #adc1
 #add1 #adh1 #aeg1 #aeh1 #ahd1 #ahe1    
#ahf1 #aic1 #bfa1      #cdf1 #cdi1 #cfa1

 #dda4        ,barzellotti1 ,dr1 #bje4  
,batelli1 #cca4        ,bazzanti1 #bb4  
,beauharnais1 ,prince1 ,viceroy of      
,italy1 #aab4        ,becheroni1 ,enea1 
#hi4        ,belliazzi1 ,raffaele1 #ddf4
        ,bellini1 #ddi4        ,bendini1
 ,dr1 #cij4                             
,benericetti-,talenti1 ,giovanni1 #bfa4 
,benino1 ,count ,f4 del1 #ajg1 #aac1    
#aad1 #acj4        ,benvenuti1 #ff4     
,benvenuti1 ,professor ,pietro1 #id1    
#if1 #ajj1 #ajd1 #cdh4        ,bernini1 
#bfj1 #cgg4        ,bertoli1 #eh4       
,bezzuoli1 ,professor1 #cdb1 #cdh4      
,biaggi1 #dad4        ,bianchi1 ,carlo1 
#acb4        ,bianchi1 ,cavaliere       
,giulio1 #aii4        ,bianchi1 ,laura1 
of ,siena1 #acb1 #ddf4        ,bianchi1 
,luigi1 #acb4        ,bianchini1        
,romualdo1 #afj4        ,bianciardi1    
,bartolommeo1 #ba1 #fb1 #ajj4           
,bichi-,ruspoli1 ,marquis ,alessandro1  
#acc1 #ced1 #dce4        ,bimboni1      
,giovacchino1 #cjg4        ,bini1       
,carlo1 #cae4        ,bonaini1          

,commendatore ,francesco1 #cgb4         
,bonghi1 ,ruggero1 #bdj1 #cba1 #dac4    
,boni1 ,dr ,costantino1 #aah4           
,borghese1 ,prince1 #b4                 
,borghesi1 ,count ,scipione1 #acc1 #bgc4
        ,borghi1 #aed4        ,borri1   
,cavaliere ,raffaello1 #cic4            
,braccio di ,ferro1 #bh et seq4         
,breme1 ,marchese di1 #cgc4             
,brina1 the model1 #ib1 #id4            
,brucciani1 the caster1 #bhj4           
,brunellesco1 #cgg4        ,bulletti1   
the wood-carver1 #cjg4                  
,buoncompagni1 #bgc4        ,buti1      
,ferdinando ,filippi di1 #cgd4          
,byron's ,cain1 #afh4                   
,caggiano1 ,emanuele1 #cfg4             
,calamatta1 #adb1 #adc1 #add1 #ade1     
#adf4        ,camaldoli1 the ,eremo of1 
#ca4        ,cambi1 ,professor ,ulisse1 
#ge1 #gf1 #hj1 #ha1 #hc1 #ig1 #bgf1     
#cbe4        ,camerini1 ,count ,luigi1  
#dbd4        ,camerini1 ,duke           
,silvestro1 #dbc et seq4        ,canini1
 a gilder1 #d4        ,canova1 #aej1    

#bdd1 #cdi1 #dag4        ,capponi1      
,marquis1 #afd1 #afg1 #cgh1 #daa4       
,caracci1 the1 #cgg4        ,carnevali1 
,clementina1 #acd4        ,cartei1 #bgf4
        ,caselli1 ,ludovico1 #hc1 #hd1  
#he4        ,cassioli1 #aij4            
,castellani of ,rome1 #djf4             
,cavalieri1 ,angelo1 of ,trieste1 #ada1 
note4        ,ceccon1 ,professor ,luigi1
 #dbf4        ,celentano1 #cfd4         
,cellini1 ,benvenuto1 #gi4              
,ceppi1 ,professor1 #cge4               
,chiarini1 ,baco1 #afa1 #afb et seq4    
,chiarini1 ,giovanni1 #aci4             
,ciacchi1 cabinet-maker1 #ahb4          
,ciardi1 ,cavaliere ,antonio1 #cej1     
#chh4        ,cimabue1 #afi4            
,cipolla1 ,professor1 #chj4             
,ciseri1 ,antonio1 #afj1 #afb1 #aij1    
#dce4        ,coletti1 physician and    
poet1 #afa4        ,constantine1 ,grand 
,duke1 of ,russia1 #cgi4                
,constantine1 ,prince1 of ,russia1 #aec4
        ,conti1 ,augusto1 #cbf1 #dca1   
#dcd4        ,coppino1 ,professor       

,michele1 #chd4        ,correggio1 #cgg4
        ,corsi1 ,cardinal1 #cii et seq4 
,corsini1 #ij4        ,corsini1         
,amerigo1 #aih4        ,corsini1 ,prince
 ,andrea1 #aih1 #bgb4        ,costa1    
,pietro1 #cca4        ,costoli1         
,aristodemo1 #id1 #aag1 #aii4           
,crawford1 ,lord1 #bjh1 #bha4           
,dall',ongaro1 ,professor1 #cbj4        
,d',ancona1 ,commendatore1 #cbj4        
,danielli1 ,signor1 #dcc4        ,dante1
 #ada1 #cgg1 #dji4        ,david1 the   
painter1 #bde4        ,dei1 ,professor1 
#i4        ,della ,gherardasca1 ,lady   
,emilia1 #aeg4        ,della ,porta1    
,count ,carlo1 #acc4        ,della      
,robbia1 ,luca1 #aha1 #bjc4        ,del 
,monte1 ,marchese ,luca ,bourbon1 #cch4 
,del ,monte1 ,marchese ,pompeo ,bourbon1
 #dch4        ,del ,punta1 ,luigi1 #bje 
et seq4        ,del ,toscano1 ,marchese1
 #ddi et seq4        ,del ,sarto1 the   
engineer1 #acj1 #aca4        ,demidoff1 
,princess ,matilde1 #adh et seq41 #aec1 
#bjj4        ,demidoff1 ,prince         

,anatolio1 #adh et seq41 #aic et seq41  
#cac et seq4        ,donatello1 #agj1   
#bcc4        ,donati1 ,professor ,g4    
,b41 #acj4        ,doney1 #aab1 #ddf4   
,don ,sebastian1 ,prince1 #bcg4         
,dupr1 ,amalia1 #bji1 #cca et seq41     
#cej1 #cgd1 #cia4        ,dupr1         
,atanasio1 #cj4        ,dupr1 ,beppina1 
#bji1 #ccd1 #cej4        ,dupr1         
,clementina1 #c1 #ad4        ,dupr1     
,emilia1 #bji4        ,dupr1 ,francesco1
 #b1 #c et seq41 #e et seq41 #be1 #cb1  
#cbc1 #cbd4        ,dupr1 ,giovanni1    
#ed1 #ic1 #abh1 #aej1 #afg1 #agh1 #ahg1 
#bbh1 #cac et      seq4 passim4         
,dupr1 ,lorenzo 7brother of ,giovanni   
,dupr71 #c1 #ad1 #aef1 #ahc et seq4     
,dupr1 ,lorenzo 7grandfather of         
,giovanni ,dupr71 #b4        ,dupr1     
,luisina1 #ahi1 #bji1 #cej1 #cgj1 #chh  
et seq41 #dab4        ,dupr1 ,maddalena1
 #c1 #ad4          ,emmanuel1 ,king     
,victor1 #cgb1 #dch4          ,fabris1  
,emilio de1 #bf1 #cdg1 #dca4            
,fanfani1 ,paolo1 #ajj1 #ahb4           

,favard1 ,baroness1 #ej1 #dcf4          
,fedi1 #bgh1 #cjg1 #cfh4        ,fenzi1 
,carlo1 #agg1 #ahe4        ,fenzi1      
,orazio1 #fi1 #aeg4        ,fenzi1      
,priore ,emanuel1 #fi1 #aeg1 #ahd4      
,ferrari1 ,count ,corbelli1 #cbe4       
,filippi di ,buti1 ,ferdinando1 #cgd1   
#dcc1 #dce4        ,fiorelli1           
,commendatore1 #cfh4        ,floridi1   
the draughtsman1 #adb1 #add4            
,folchi1 ,ferdinand1 #ajj4              
,fraccaroli1 ,professor ,innocenzo1     
#cgd4        ,franceschi1 ,signor1 #ddh4
        ,francesco1 ,prince1 of ,naples1
 #ahj4        ,franchi1 #aij4           
,fusinato1 #afa4          ,galeotti1    
,maria1 #djh4        ,galeotti1 the     
advocate1 #adj4        ,gargiolli1      
,girolamo1 #aci4        ,garibaldi1     
#dba4        ,gatti1 ,angiolo1 #cbf4    
,gatti1 ,annibale1 #dcf4        ,gerini1
 ,marchese1 #agg4        ,ghiberti1 #ae1
 #cgg4        ,giganti1 the             
water-colourist1 #bae1 #bbg4            
,giotto1 #afi1 #agj4        ,giusti1 the

 poet1 #aci1 #adj1 #ada1 #afg1 #bib et  
seq4        ,giusti1 ,ulisse1 #ajj4     
,gordigiani1 #aib4        ,gori1 ,count 
,augusto dei1 #acc1 #beg4               
,gozzini1 ,doctor1 #di4                 
,gualterio1 ,filippo1 #beg1 #bgc1 #cgc4 
,guasti1 ,cesare1 #daa4                 
,guerrazzi1 #afd1 #agi4                 
,guicciardini1 ,count ,piero1 #cjg4     
,guillaume1 #dcb4          ,haynau1     
,marshal1 #cci et seq4          ,ingres1
 #aia4        ,isabella1 ,princess1     
#ahj4        ,isabella1 ,queen1 #bcf4   
,la ,farina1 #aci1 #adj1 #aei4          
,lajatico1 ,marquis1 #bgc4              
,lambruschini1 ,raffaello1 #daa4        
,lelli1 the caster1 #ajj4               
,leonardo1 #agj1 #aia1 #cgg4            
,leopold ,,ii41 ,grand ,duke1 #cf1 #adg1
 #bje1 #bcf4        ,leopold1 ,king1    
#bgf4        ,letizia1 ,madame1 #aej4   
,leuchtenberg1 ,prince of1 #aaa1 #aab1  
#age4        ,limberti1 ,archbishop     
,giovacchino1 #cid4        ,lippi1 #agj4
        ,liverani1 ,tonino1 ,tria1 #ahf 

et seq41 #cga4        ,lombardi1        
,victoria1 #b4        ,loredan1 #bbh4   
,lucca1 ,blosi di1 #aib4        ,luigi1 
di1 #agb4        ,luitpoldo1 ,prince1   
#bja4        ,lusini1 ,giovanni1 #hi4   
,macartney1 ,mrs ,letitia1 #abf1 #abg et
 seq4        ,maccari1 #aij4            
,maffei1 ,andrea1 #afg1 #afh4           
,magagnini1 #cj4        ,magi1 ,luigi1  
#fj1 #fc1 #fd1 #fe1 #ff1 #fh1 #gj1 #ga1 
#gc1 #ge1 #if4        ,magni1 #cfh1     
#dda4        ,majoli1 ,luigi1 #afj1     
#agh1 #bje1 #cdh1 #cff1 note4           
,maldarelli1 #cfd4        ,manara1 #afg4
        ,mancinelli1 ,giuseppe1 #bae1   
#bbg1 #cfc1 #cfd1 #cgj4        ,manetti1
 ,antonio1 #i4        ,mantegna1 #caj4  
,manzoni1 #afg1 #cgg4        ,maranghi1 
,gabriello1 #cbc4        ,marchesini1   
,signora1 #bbi4        ,maria           
,antoinetta1 ,grand ,duchess1 #cf1 #aca1
 #bjj4        ,maria ,carolina1 ,grand  
,duchess1 #bgb4        ,maria1 ,grand   
,duchess1 of ,russia1 #aaa1 #aff1 #age4 
,mariani1 #bdg1 #dac4        ,marina1   

#ci et seq41 #da1 #dc1 #dd1 #ec1 #ei1   
#fj et seq41 #fc1 #fe1      #gg1 #ajf1  
#aaj1 #aef1 #agg1 #ahb1 #bbe1 #bcj1     
#cej1 #cic4        ,mariotti1 ,lorenzo1 
#aaa1 #aac1 #agc1 #cac4                 
,martelli1 ,professor ,giuseppe1 #fi4   
,martellini1 ,professor ,gaspero1 #bj4  
,marrocchetti1 #bhb et seq4             
,masaccio1 #agj4        ,mauri1         
,senatore ,achilli1 #dbc4        ,mayer1
 ,enrico1 #aci4        ,mazzoni1        
,stefano1 #e4        ,meissonnier1 #dcb4
        ,menzicoff1 ,general1 #agd4     
,minardi1 #bdf1 #bdg4        ,mois1     
,filippo1 #aci4        ,montalvo1       
,ramirez di1 #aja1 #ajb1 #ajd1 #aje4    
,montanelli1 ,professor ,giuseppe1 #cjg4
        ,montazio1 #aci1 #adj4          
,monteverde1 #dai1 #ddi1 #dea4          
,mordini1 ,antonio1 #aei4               
,morelli1 #cfd1 #cfh4        ,morelli1  
,domenico1 #djf4        ,mussini1       
,luigi1 #aij et seq41 #aib1 #cdh1 #cff1 
#dac1 #dce4        ,muzzi1 #ada1 note4  
,napoleon ,i41 #ca1 #ii1 #aab1 #adb1    

#big1 #cah1 #cdi4        ,niccolini1    
,giovanni ,battista1 #ga1 #aci1 #adj1   
#afg4        ,nicholas1 ,emperor of     
,russia1 #aec1 #aff1 #agc et seq4       
,nicolaiewna1 ,maria1 #age4             
,nigra1 the minister1 #aec4             
,norfini1 #aib4        ,nuovo1 ,berio1  
#bcc4          ,orgagna1 #cgg1 #ddh4    
,orlandini1 ,f4 ,s41 #aci4              
,orloff1 ,count1 #agd4        ,overbeck1
 #aia1 #bdf1 #bdg4          ,pacetti1   
,brothers1 #ff1 #gf1 #gg1 #gh1 #gi4     
,pacetti1 ,tonino1 #gf4        ,palizzi1
 #cfd1 #cfh1 #dac4        ,pallavicini1 
,count ,antonio1 #dji1 #dbi4            
,pampaloni1 ,professor1 #hc1 #ajf1 #cdh4
        ,papi1 ,professor ,clemente1    
#aca1 #afj1 #bfa1 #bhg1 #bic et seq41   
#cch4        ,parenti1                  
carpet-manufacturer1 #ad4        ,patti1
 ,adelina1 #dcb4        ,pazzi1 ,enrico1
 #afj1 #agh1 #bje1 #cdh1 #daa4          
,peruzzi1 ,ubaldino1 #agi1 #dca4        
,petrai1 ,antonio1 #aja1 #aab1 #abi4    
,phidias1 #aag1 #aia1 #bda1 #bec1 #cgg1 

#ddh4        ,piatti1 ,giulio1 #afb1    
#afh4        ,piccolomini1 ,signora1    
#cjg4        ,pieraccini1 ,luigi1 #h4   
,pini1 ,carlo1 #i4        ,pius ,,ix41  
#ccg1 #dcd1 #dch et seq4                
,poccianti1 ,professor1 #bfa4           
,podesta1 the painter1 #bii4            
,poggi1 ,michele1 #ajj4        ,poggi1  
,professor ,commendatore ,giuseppe1     
#ajg1 #dbi1 #dcf4        ,poldi1        
,marchioness1 of ,milan1 #gi1 #hj4      
,pollastrini1 ,enrico1 #aia4            
,poniatowsky1 ,prince ,joseph1 #cbd4    
,pradier1 #bhe4        ,prati1 #afa1    
#afb1 #afc1 #afd4        ,puccini1      
,cavaliere ,nicol1 #cif et seq4         
,quieroli1 #bcd4          ,raphael1     
#agj1 #aia1 #bdj1 #cjb et seq41 #cji1   
#cbh1 #cgg4        ,rauch1 #bfe et seq41
 #cdi et seq4        ,regina1 #db1 #dc1 
#de1 #ec1 #ei4        ,renard1 engineer1
 #agg4        ,reni1 ,guido1 #cgg4      
,riboisire1 ,madame de la1 #bhe4        
,ricasoli1 ,beltino1 #daa4              
,ricci1 ,stefano1 sculptor1 #aaf1 #aba4 

,ricciardelli1 #cj4        ,ristori1    
,signora1 #cjg et seq4        ,rivalta1 
,augusto1 #cde et seq4        ,romoli1  
#cjg4        ,rossini1 #adf1 #aga1 #agb1
 #cgg1 #djf4        ,rossini1 ,signora  
,olimpia1 #aga4          ,sabatelli1    
,professor1 #fc1 #cdh4                  
,sabatelli1 ,professor ,giuseppe1 #id1  
#ii1 #ajf4        ,saladini1 #cf1 #cg et
 seq4        ,saltini1 ,dr ,giuseppe1   
#afa1 #agg4        ,sanesi1 #ajj4       
,sani1 ,luigi1 #bj1 #fb1 #gg4           
,sani1 ,paolo1 #b1 #h1 #ac1 #af1 #ai1   
#ce1 #fh et seq41 #gf1 #aeg1 #ahb4      
,santarelli1 ,professor ,emilio1 #id1   
#ajf4        ,saracini1 ,cavaliere      
,alessandro1 #acc4        ,sarrocchi1   
,tito1 #afj1 #agg1 #bjh1 #ccj1 #cdh1    
#cfg4        ,savonarola1 ,frate        
,girolamo1 #daj et seq4        ,sclopis1
 ,count ,federigo1 #cha4                
,selvatico1 ,pietro1 #beh4              
,serristori1 ,governor of ,siena1 #abf4 
,sferra1 ,antonio1 #id4                 
,sighinolfi1 ,cesare1 #cig et seq4      

,sloane1 ,cavaliere1 #ccj4              
,smargiassi1 ,professor1 #bae et seq41  
#bbg4        ,spence1 ,william1 #bgg1   
#bgi1 #bhh4        ,strazza1 ,giovanni1 
#cfg4          ,talleyrand1 ,duke1 #dbd4
        ,tartaglia1 ,professor1 #baf4   
,tasso1 the carver1 #gh1 #gi1 #hj4      
,tasso1 ,torquato1 #bac1 #bad4          
,tenerani1 #adc1 #bdf1 #cgj4            
,thorwaldsen1 #ddf4        ,thouar1     
#aci1 #adj4        ,tommaseo1 ,niccol1  
#daa4        ,tommasi1 ,signor1 of      
,leghorn1 #aec4        ,travalloni1 the 
engraver1 #acg4        ,troubetzkoi1    
,princess1 #dbd4          ,uccelli1     
,fabio1 #cjg4        ,ussi1 ,professor1 
#djf4        ,uzielli1 ,sansone1 of     
,leghorn1 #bja4          ,vannucci1     
,atto1 #aci4        ,varesi1 ,signora1  
#agb4        ,varni1 ,professor ,santo1 
#cgd4        ,vela1 #aig1 #cfh1 #cgd1   
#chj et seq41 #djd et seq41 #dai1 #dda4 
,venturi1 ,luigi1 #adg1 #aef1 #ahj1     
#ahb1 #aij1 #bje1 #bjg1 #bac1 #bfb1     
#dca4        ,verdi1 ,giuseppe1 #aff et 

seq41 #aga1 #bjb4        ,vincenzi1 de1 
#cjg4        ,visconti1 #aij1 #cfe et   
seq4        ,vonwiller1 ,signor1 #cfh4  
,vulpes1 ,professor1 #bae4              
,wagner1 #dbj4        ,wellington1 ,duke
 of1 #bge et seq4        ,wolf1 the     
sculptor1 #cdi1 #cgj4                   
,zannetti1 ,professor1 #aih4            
,zocchi1 ,emilio1 of ,florence1 #ccj1   
#ccd4        ,zotti1 ,ignazio1 #acc et  
seq4                              ,,the 
,,end4          ,,printed ,,by ,,william
 ,,blackwood ,,and ,,sons4              
99       99       99       99       99  
,transcriber's ,notes3        ,some     
minor obvious typographical errors have 
been corrected      silently4           
,all quotation marks left as per        
original1 except for those      listed  
below4        ,footnotes have been moved
 to underneath the paragraph they refer 
to so as to not disrupt the flow of the 
text4        ,the headings that appeared
 at the top of each page in the         
original publication and have been      

treated as sidenotes and      moved to  
above the paragraph they refer to so as 
not to disrupt      the flow of the     
text4      ,corrections made3           
,pg4 #aec3 ,after ,pius ,,ii4 added     
comma        ,pg4 #agi3 in the          
railway-carriages4 ,guerazzi replaced   
with      ,guerrazzi        ,pg4 #bch3  
they are presenting arms4 added         
doublequote mark        ,pg4 #caj3 the  
,triumph of ,caesar4 ,mantegua replaced 
with      ,mantegna1        ,pg4 #cbd3  
,i will get out and go home4 added      
doublequote mark        ,pg4 #ddd3      
drowse on a trichinium replaced with    
triclinium      ,the following names    
appearing in the index have been changed
 to match  the spelling appearing in the
 text3        ,pg4 #ded3 ,della         
,gherardasca replaced with ,gherardesca1
 ,lady      ,emilia        ,pg4 #ded3   
,fraccaroli1 ,professor ,innocenzi      
replaced with      ,innocenzo           
,pg4 #ded3 ,gatti1 ,anjiolo replaced    
with ,angiolo        ,pg4 #dee3 ,masacio

 replaced with ,masaccio1 #agj4         
,pg4 #dee3 ,meisonnier replaced with    
,meissonnier1 #dcb4        ,pg4 #dee3   
,puccini1 ,cavaliere ,nicolo replaced   
with ,nicol      ,multiple versions of  
the same name appear and have not been  
changed3        ,the ,grand ,duchess    
,marie ,antoinetta1 ,maria ,antoinetta1 
,maria      ,antonietta                 
,lampeggi1 ,lappegi        ,andrea      
,pisani1 ,andrea ,pisano                
,schiller ,platz1 ,schillerplatz        
,san ,niccolo1 ,san ,niccol             
,sienese1 ,siennese        ,ciseri1     
,cisere      ,both versions of the      
following words appear in the text3     
buttonhole1 button-hole                 
nicknamed1 nick-named        storehouse1
 store-house