"I could not have believed it," exclaimed Alleyne. "What color! What outlines! See to this martyrdom of the holy Stephen, Ford. Could you not yourself pick up one of these stones which lie to the hand of the wicked murtherers?"
"And see this stag, Alleyne, with the cross betwixt its horns. By my faith! I have never seen a better one at the Forest of Bere."
"And the green of this grass-how bright and clear! Why all the painting that I have seen is but child's play beside this. This worthy gentleman must be one of those great painters of whom I have oft heard brother Bartholomew speak in the old days at Beaulieu."
The dark mobile face of the artist shone with pleasure at the unaffected delight of the two young Englishmen. His daughter had thrown off her mantle and disclosed a face of the finest and most delicate Italian beauty, which soon drew Ford's eyes from the pictures in front of him. Alleyne, however, continued with little cries of admiration and of wonderment to turn from the walls to the table and yet again to the walls.
"What think you of this, young sir?" asked the painter, tearing off the cloth which concealed the flat object which he had borne beneath his arm. It was a leaf-shaped sheet of glass bearing upon it a face with a halo round it, so delicately outlined, and of so perfect a tint, that it might have been indeed a human face which gazed with sad and thoughtful eyes upon the young squire. He clapped his hands, with that thrill of joy which true art will ever give to a true artist.
"It is great!" he cried. "It is wonderful! But I marvel, sir, that you should have risked a work of such beauty and value by bearing it at night through so unruly a crowd."
"I have indeed been rash," said the artist. "Some wine, Tita, from the Florence flask! Had it not been for you, I tremble to think of what might have come of it. See to the skin tint: it is not to be replaced, for paint as you will, it is not once in a hundred times that it is not either burned too brown in the furnace or else the color will not hold, and you get but a sickly white. There you can see the very veins and the throb of thee blood. Yes, diavolo! if it had broken, my heart would have broken too. It is for the choir window in the church of St. Remi, and we had gone, my little helper and I, to see if it was indeed of the size for the stonework. Night had fallen ere we finished, and what could we do save carry it home as best we might? But you, young sir, you speak as if you too knew something of the art."
"So little that I scarce dare speak of it in your presence," Alleyne answered. "I have been cloister-bred, and it was no very great matter to handle the brush better than my brother novices."
"There are pigments, brush, and paper," said the old artist. "I do not give you glass, for that is another matter, and takes much skill in the mixing of colors. Now I pray you to show me a touch of your art. I thank you, Tita! The Venetian glasses, cara mia, and fill them to the brim. A seat, signor!"
While Ford, in his English-French, was conversing with Tita in her Italian French, the old man was carefully examining his precious head to see that no scratch had been left upon its surface. When he glanced up again, Alleyne had, with a few bold strokes of the brush, tinted in a woman's face and neck upon the white sheet in front of him.
"Diavolo!" exclaimed the old artist, standing with his head on one side, "you have power; yes, cospetto! you have power, it is the face of an angel!"
"It is the face of the Lady Maude Loring!" cried Ford, even more astonished.
"Why, on my faith, it is not unlike her!" said Alleyne, in some confusion.
"Ah! a portrait! So much the better. Young man, I am Agostino Pisano, the son of Andrea Pisano, and I say again that you have power. Further, I say, that, if you will stay with me, I will teach you all the secrets of the glass-stainers' mystery: the pigments and their thickening, which will fuse into the glass and which will not, the furnace and the glazing-every trick and method you shall know."
"I would be right glad to study under such a master," said Alleyne; "but I am sworn to follow my lord whilst this war lasts."
"War! war!" cried the old Italian. "Ever this talk of war. And the men that you hold to be great-what are they? Have I not heard their names? Soldiers, butchers, destroyers! Ah, per Bacco! we have men in Italy who are in very truth great. You pull down, you despoil; but they build up, they restore. Ah, if you could but see my own dear Pisa, the Duomo, the cloisters of Campo Santo, the high Campanile, with the mellow throb of her bells upon the warm Italian air! Those are the works of great men. And I have seen them with my own eyes, these very eyes which look upon you. I have seen Andrea Orcagna, Taddeo Gaddi, Giottino, Stefano, Simone Memmi-men whose very colors I am not worthy to mix. And I have seen the aged Giotto, and he in turn was pupil to Cimabue, before whom there was no art in Italy, for the Greeks were brought to paint the chapel of the Gondi at Florence. Ah, signori, there are the real great men whose names will be held in honor when your soldiers are shown to have been the enemies of humankind."
"Faith, sir," said Ford, "there is something to say for the soldiers also, for, unless they be defended, how are all these gentlemen whom you have mentioned to preserve the pictures which they have painted?"
"And all these!" said Alleyne. "Have you indeed done them all?– and where are they to go?"
"Yes, signor, they are all from my hand. Some are, as you see, upon one sheet, and some are in many pieces which may fasten together, There are some who do but paint upon the glass, and then, by placing another sheet of glass upon the top and fastening it, they keep the air from their painting. Yet I hold that the true art of my craft lies as much in the furnace as in the brush. See this rose window, which is from the model of the Church of the Holy Trinity at Vendome, and this other of the 'Finding of the Grail,' which is for the apse of the Abbey church. Time was when none but my countrymen could do these things; but there is Clement of Chartres and others in France who are very worthy workmen. But, ah! there is that ever shrieking brazen tongue which will not let us forget for one short hour that it is the arm of the savage, and not the hand of the master, which rules over the world."
A stern, clear bugle call had sounded close at hand to summon some following together for the night.
"It is a sign to us as well," said Ford. "I would fain stay here forever amid all these beautiful things-" staring hard at the blushing Tita as he spoke-"but we must be back at our lord's hostel ere he reach it." Amid renewed thanks and with promises to come again, the two squires bade their leave of the old Italian glass-stainer and his daughter. The streets were clearer now, and the rain had stopped, so they made their way quickly from the Rue du Roi, in which their new friends dwelt, to the Rue des Apotres, where the hostel of the "Half Moon" was situated.
Chapter 22 – How The Bowmen Held Wassail At The "Rose De Guienne.
"MON Dieu! Alleyne, saw you ever so lovely a face?" cried Ford as they hurried along together. "So pure, so peaceful, and so beautiful!"
"In sooth, yes. And the hue of the skin the most perfect that ever I saw. Marked you also how the hair curled round the brow? It was wonder fine."
"Those eyes, too!" cried Ford. "How clear and how tender – simple. and yet so full of thought!"
"If there was a weakness it was in the chin," said Alleyne.
"Nay. I saw none."
"It was well curved, it is true."
"Most daintily so."
"And yet-"
"What then, Alleyne? Wouldst find flaw in the sun?"
"Well, bethink you, Ford, would not more power and expression have been put into the face by a long and noble beard?"