Эмиль Золя
The Three Cities Trilogy: Rome, Complete
VI
PIERRE had been in Rome for a fortnight, and yet the affair of his book was no nearer solution. He was still possessed by an ardent desire to see the Pope, but could in no wise tell how to satisfy it, so frequent were the delays and so greatly had he been frightened by Monsignor Nani’s predictions of the dire consequences which might attend any imprudent action. And so, foreseeing a prolonged sojourn, he at last betook himself to the Vicariate in order that his “celebret” might be stamped, and afterwards said his mass each morning at the Church of Santa Brigida, where he received a kindly greeting from Abbe Pisoni, Benedetta’s former confessor.
One Monday evening he resolved to repair early to Donna Serafina’s customary reception in the hope of learning some news and expediting his affairs. Perhaps Monsignor Nani would look in; perhaps he might be lucky enough to come across some cardinal or domestic prelate willing to help him. It was in vain that he had tried to extract any positive information from Don Vigilio, for, after a short spell of affability and willingness, Cardinal Pio’s secretary had relapsed into distrust and fear, and avoided Pierre as if he were resolved not to meddle in a business which, all considered, was decidedly suspicious and dangerous. Moreover, for a couple of days past a violent attack of fever had compelled him to keep his room.
Thus the only person to whom Pierre could turn for comfort was Victorine Bosquet, the old Beauceronne servant who had been promoted to the rank of housekeeper, and who still retained a French heart after thirty years’ residence in Rome. She often spoke to the young priest of Auneau, her native place, as if she had left it only the previous day; but on that particular Monday even she had lost her wonted gay vivacity, and when she heard that he meant to go down in the evening to see the ladies she wagged her head significantly. “Ah! you won’t find them very cheerful,” said she. “My poor Benedetta is greatly worried. Her divorce suit is not progressing at all well.”
All Rome, indeed, was again talking of this affair. An extraordinary revival of tittle-tattle had set both white and black worlds agog. And so there was no need for reticence on Victorine’s part, especially in conversing with a compatriot. It appeared, then, that, in reply to Advocate Morano’s memoir setting forth that the marriage had not been consummated, there had come another memoir, a terrible one, emanating from Monsignor Palma, a doctor in theology, whom the Congregation of the Council had selected to defend the marriage. As a first point, Monsignor Palma flatly disputed the alleged non-consummation, questioned the certificate put forward on Benedetta’s behalf, and quoted instances recorded in scientific text-books which showed how deceptive appearances often were. He strongly insisted, moreover, on the narrative which Count Prada supplied in another memoir, a narrative well calculated to inspire doubt; and, further, he so turned and twisted the evidence of Benedetta’s own maid as to make that evidence also serve against her. Finally he argued in a decisive way that, even supposing the marriage had not been consummated, this could only be ascribed to the resistance of the Countess, who had thus set at defiance one of the elementary laws of married life, which was that a wife owed obedience to her husband.
Next had come a fourth memoir, drawn up by the reporter of the Congregation, who analysed and discussed the three others, and subsequently the Congregation itself had dealt with the matter, opining in favour of the dissolution of the marriage by a majority of one vote – such a bare majority, indeed, that Monsignor Palma, exercising his rights, had hastened to demand further inquiry, a course which brought the whole procedure again into question, and rendered a fresh vote necessary.
“Ah! the poor Contessina!” exclaimed Victorine, “she’ll surely die of grief, for, calm as she may seem, there’s an inward fire consuming her. It seems that Monsignor Palma is the master of the situation, and can make the affair drag on as long as he likes. And then a deal of money had already been spent, and one will have to spend a lot more. Abbe Pisoni, whom you know, was very badly inspired when he helped on that marriage; and though I certainly don’t want to soil the memory of my good mistress, Countess Ernesta, who was a real saint, it’s none the less true that she wrecked her daughter’s life when she gave her to Count Prada.”
The housekeeper paused. Then, impelled by an instinctive sense of justice, she resumed. “It’s only natural that Count Prada should be annoyed, for he’s really being made a fool of. And, for my part, as there is no end to all the fuss, and this divorce is so hard to obtain, I really don’t see why the Contessina shouldn’t live with her Dario without troubling any further. Haven’t they loved one another ever since they were children? Aren’t they both young and handsome, and wouldn’t they be happy together, whatever the world might say? Happiness, mon Dieu! one finds it so seldom that one can’t afford to let it pass.”
Then, seeing how greatly surprised Pierre was at hearing such language, she began to laugh with the quiet composure of one belonging to the humble classes of France, whose only desire is a quiet and happy life, irrespective of matrimonial ties. Next, in more discreet language, she proceeded to lament another worry which had fallen on the household, another result of the divorce affair. A rupture had come about between Donna Serafina and Advocate Morano, who was very displeased with the ill success of his memoir to the congregation, and accused Father Lorenza – the confessor of the Boccanera ladies – of having urged them into a deplorable lawsuit, whose only fruit could be a wretched scandal affecting everybody. And so great had been Morano’s annoyance that he had not returned to the Boccanera mansion, but had severed a connection of thirty years’ standing, to the stupefaction of all the Roman drawing-rooms, which altogether disapproved of his conduct. Donna Serafina was, for her part, the more grieved as she suspected the advocate of having purposely picked the quarrel in order to secure an excuse for leaving her; his real motive, in her estimation, being a sudden, disgraceful passion for a young and intriguing woman of the middle classes.
That Monday evening, when Pierre entered the drawing-room, hung with yellow brocatelle of a flowery Louis XIV pattern, he at once realised that melancholy reigned in the dim light radiating from the lace-veiled lamps. Benedetta and Celia, seated on a sofa, were chatting with Dario, whilst Cardinal Sarno, ensconced in an arm-chair, listened to the ceaseless chatter of the old relative who conducted the little Princess to each Monday gathering. And the only other person present was Donna Serafina, seated all alone in her wonted place on the right-hand side of the chimney-piece, and consumed with secret rage at seeing the chair on the left-hand side unoccupied – that chair which Morano had always taken during the thirty years that he had been faithful to her. Pierre noticed with what anxious and then despairing eyes she observed his entrance, her glance ever straying towards the door, as though she even yet hoped for the fickle one’s return. Withal her bearing was erect and proud; she seemed to be more tightly laced than ever; and there was all the wonted haughtiness on her hard-featured face, with its jet-black eyebrows and snowy hair.
Pierre had no sooner paid his respects to her than he allowed his own worry to appear by inquiring whether they would not have the pleasure of seeing Monsignor Nani that evening. Thereupon Donna Serafina could not refrain from answering: “Oh! Monsignor Nani is forsaking us like the others. People always take themselves off when they can be of service.”
She harboured a spite against the prelate for having done so little to further the divorce in spite of his many promises. Beneath his outward show of extreme willingness and caressing affability he doubtless concealed some scheme of his own which he was tenaciously pursuing. However, Donna Serafina promptly regretted the confession which anger had wrung from her, and resumed: “After all, he will perhaps come. He is so good-natured, and so fond of us.”
In spite of the vivacity of her temperament she really wished to act diplomatically, so as to overcome the bad luck which had recently set in. Her brother the Cardinal had told her how irritated he was by the attitude of the Congregation of the Council; he had little doubt that the frigid reception accorded to his niece’s suit had been due in part to the desire of some of his brother cardinals to be disagreeable to him. Personally, he desired the divorce, as it seemed to him the only means of ensuring the perpetuation of the family; for Dario obstinately refused to marry any other woman than his cousin. And thus there was an accumulation of disasters; the Cardinal was wounded in his pride, his sister shared his sufferings and on her own side was stricken in the heart, whilst both lovers were plunged in despair at finding their hopes yet again deferred.
As Pierre approached the sofa where the young folks were chatting he found that they were speaking of the catastrophe. “Why should you be so despondent?” asked Celia in an undertone. “After all, there was a majority of a vote in favour of annulling the marriage. Your suit hasn’t been rejected; there is only a delay.”
But Benedetta shook her head. “No, no! If Monsignor Palma proves obstinate his Holiness will never consent. It’s all over.”
“Ah! if one were only rich, very rich!” murmured Dario, with such an air of conviction that no one smiled. And, turning to his cousin, he added in a whisper: “I must really have a talk with you. We cannot go on living like this.”
In a breath she responded: “Yes, you are right. Come down to-morrow evening at five. I will be here alone.”
Then dreariness set in; the evening seemed to have no end. Pierre was greatly touched by the evident despair of Benedetta, who as a rule was so calm and sensible. The deep eyes which illumined her pure, delicate, infantile face were now blurred as by restrained tears. He had already formed a sincere affection for her, pleased as he was with her equable if somewhat indolent disposition, the semblance of discreet good sense with which she veiled her soul of fire. That Monday even she certainly tried to smile while listening to the pretty secrets confided to her by Celia, whose love affairs were prospering far more than her own. There was only one brief interval of general conversation, and that was brought about by the little Princess’s aunt, who, suddenly raising her voice, began to speak of the infamous manner in which the Italian newspapers referred to the Holy Father. Never, indeed, had there been so much bad feeling between the Vatican and the Quirinal. Cardinal Sarno felt so strongly on the subject that he departed from his wonted silence to announce that on the occasion of the sacrilegious festivities of the Twentieth of September, celebrating the capture of Rome, the Pope intended to cast a fresh letter of protest in the face of all the Christian powers, whose indifference proved their complicity in the odious spoliation of the Church.
“Yes, indeed! what folly to try and marry the Pope and the King,” bitterly exclaimed Donna Serafina, alluding to her niece’s deplorable marriage.
The old maid now seemed quite beside herself; it was already so late that neither Monsignor Nani nor anybody else was expected. However, at the unhoped-for sound of footsteps her eyes again brightened and turned feverishly towards the door. But it was only to encounter a final disappointment. The visitor proved to be Narcisse Habert, who stepped up to her, apologising for making so late a call. It was Cardinal Sarno, his uncle by marriage, who had introduced him into this exclusive salon, where he had received a cordial reception on account of his religious views, which were said to be most uncompromising. If, however, despite the lateness of the hour, he had ventured to call there that evening, it was solely on account of Pierre, whom he at once drew on one side.
“I felt sure I should find you here,” he said. “Just now I managed to see my cousin, Monsignor Gamba del Zoppo, and I have some good news for you. He will see us to-morrow at about eleven in his rooms at the Vatican.” Then, lowering his voice: “I think he will endeavour to conduct you to the Holy Father. Briefly, the audience seems to me assured.”
Pierre was greatly delighted by this promised certainty, which came to him so suddenly in that dreary drawing-room, where for a couple of hours he had been gradually sinking into despair! So at last a solution was at hand!
Meantime Narcisse, after shaking hands with Dario and bowing to Benedetta and Celia, approached his uncle the Cardinal, who, having rid himself of the old relation, made up his mind to talk. But his conversation was confined to the state of his health, and the weather, and sundry insignificant anecdotes which he had lately heard. Not a word escaped him respecting the thousand complicated matters with which he dealt at the Propaganda. It was as though, once outside his office, he plunged into the commonplace and the unimportant by way of resting from the anxious task of governing the world. And after he had spoken for a time every one got up, and the visitors took leave.
“Don’t forget,” Narcisse repeated to Pierre, “you will find me at the Sixtine Chapel to-morrow at ten. And I will show you the Botticellis before we go to our appointment.”
At half-past nine on the following morning Pierre, who had come on foot, was already on the spacious Piazza of St. Peter’s; and before turning to the right, towards the bronze gate near one corner of Bernini’s colonnade, he raised his eyes and lingered, gazing at the Vatican. Nothing to his mind could be less monumental than the jumble of buildings which, without semblance of architectural order or regularity of any kind, had grown up in the shadow cast by the dome of the basilica. Roofs rose one above the other and broad, flat walls stretched out chance-wise, just as wings and storeys had been added. The only symmetry observable above the colonnade was that of the three sides of the court of San Damaso, where the lofty glass-work which now encloses the old loggie sparkled in the sun between the ruddy columns and pilasters, suggesting, as it were, three huge conservatories.
And this was the most beautiful palace in the world, the largest of all palaces, comprising no fewer than eleven thousand apartments and containing the most admirable masterpieces of human genius! But Pierre, disillusioned as he was, had eyes only for the lofty facade on the right, overlooking the piazza, for he knew that the second-floor windows there were those of the Pope’s private apartments. And he contemplated those windows for a long time, and remembered having been told that the fifth one on the right was that of the Pope’s bed-room, and that a lamp could always be seen burning there far into the night.
What was there, too, behind that gate of bronze which he saw before him – that sacred portal by which all the kingdoms of the world communicated with the kingdom of heaven, whose august vicar had secluded himself behind those lofty, silent walls? From where he stood Pierre gazed on that gate with its metal panels studded with large square-headed nails, and wondered what it defended, what it concealed, what it shut off from the view, with its stern, forbidding air, recalling that of the gate of some ancient fortress. What kind of world would he find behind it, what treasures of human charity jealously preserved in yonder gloom, what revivifying hope for the new nations hungering for fraternity and justice? He took pleasure in fancying, in picturing the one holy pastor of humanity, ever watching in the depths of that closed palace, and, while the nations strayed into hatred, preparing all for the final reign of Jesus, and at last proclaiming the advent of that reign by transforming our democracies into the one great Christian community promised by the Saviour. Assuredly the world’s future was being prepared behind that bronze portal; assuredly it was that future which would issue forth.
But all at once Pierre was amazed to find himself face to face with Monsignor Nani, who had just left the Vatican on his way to the neighbouring Palace of the Inquisition, where, as Assessor, he had his residence.
“Ah! Monsignor,” said Pierre, “I am very pleased. My friend Monsieur Habert is going to present me to his cousin, Monsignor Gamba del Zoppo, and I think I shall obtain the audience I so greatly desire.”
Monsignor Nani smiled with his usual amiable yet keen expression. “Yes, yes, I know.” But, correcting himself as it were, he added: “I share your satisfaction, my dear son. Only, you must be prudent.” And then, as if fearing that the young priest might have understood by his first words that he had just seen Monsignor Gamba, the most easily terrified prelate of the whole prudent pontifical family, he related that he had been running about since an early hour on behalf of two French ladies, who likewise were dying of a desire to see the Pope. However, he greatly feared that the help he was giving them would not prove successful.
“I will confess to you, Monsignor,” replied Pierre, “that I myself was getting very discouraged. Yes, it is high time I should find a little comfort, for my sojourn here is hardly calculated to brace my soul.”
He went on in this strain, allowing it to be seen that the sights of Rome were finally destroying his faith. Such days as those which he had spent on the Palatine and along the Appian Way, in the Catacombs and at St. Peter’s, grievously disturbed him, spoilt his dream of Christianity rejuvenated and triumphant. He emerged from them full of doubt and growing lassitude, having already lost much of his usually rebellious enthusiasm.
Still smiling, Monsignor Nani listened and nodded approvingly. Yes, no doubt that was the fatal result. He seemed to have foreseen it, and to be well satisfied thereat. “At all events, my dear son,” said he, “everything is going on well, since you are now certain that you will see his Holiness.”
“That is true, Monsignor; I have placed my only hope in the very just and perspicacious Leo XIII. He alone can judge me, since he alone can recognise in my book his own ideas, which I think I have very faithfully set forth. Ah! if he be willing he will, in Jesus’ name and by democracy and science, save this old world of ours!”
Pierre’s enthusiasm was returning again, and Nani, smiling more and more affably with his piercing eyes and thin lips, again expressed approval: “Certainly; quite so, my dear son. You will speak to him, you will see.”
Then as they both raised their heads and looked towards the Vatican, Nani carried his amiability so far as to undeceive Pierre with respect to the Pope’s bed-room. No, the window where a light was seen every evening was simply that of a landing where the gas was kept burning almost all night. The window of his Holiness’s bed-chamber was the second one farther on. Then both relapsed into silence, equally grave as they continued to gaze at the facade.
“Well, till we meet again, my dear son,” said Nani at last. “You will tell me of your interview, I hope.”
As soon as Pierre was alone he went in by the bronze portal, his heart beating violently, as if he were entering some redoubtable sanctuary where the future happiness of mankind was elaborated. A sentry was on duty there, a Swiss guard, who walked slowly up and down in a grey-blue cloak, below which one only caught a glimpse of his baggy red, black, and yellow breeches; and it seemed as if this cloak of sober hue were purposely cast over a disguise in order to conceal its strangeness, which had become irksome. Then, on the right-hand, came the covered stairway conducting to the Court of San Damaso; but to reach the Sixtine Chapel it was necessary to follow a long gallery, with columns on either hand, and ascend the royal staircase, the Scala Regia. And in this realm of the gigantic, where every dimension is exaggerated and replete with overpowering majesty, Pierre’s breath came short as he ascended the broad steps.
He was much surprised on entering the Sixtine Chapel, for it at first seemed to him small, a sort of rectangular and lofty hall, with a delicate screen of white marble separating the part where guests congregate on the occasion of great ceremonies from the choir where the cardinals sit on simple oaken benches, while the inferior prelates remain standing behind them. On a low platform to the right of the soberly adorned altar is the pontifical throne; while in the wall on the left opens the narrow singing gallery with its balcony of marble. And for everything suddenly to spread out and soar into the infinite one must raise one’s head, allow one’s eyes to ascend from the huge fresco of the Last Judgment, occupying the whole of the end wall, to the paintings which cover the vaulted ceiling down to the cornice extending between the twelve windows of white glass, six on either hand.
Fortunately there were only three or four quiet tourists there; and Pierre at once perceived Narcisse Habert occupying one of the cardinals’ seats above the steps where the train-bearers crouch. Motionless, and with his head somewhat thrown back, the young man seemed to be in ecstasy. But it was not the work of Michael Angelo that he thus contemplated. His eyes never strayed from one of the earlier frescoes below the cornice; and on recognising the priest he contented himself with murmuring: “Ah! my friend, just look at the Botticelli.” Then, with dreamy eyes, he relapsed into a state of rapture.
Pierre, for his part, had received a great shock both in heart and in mind, overpowered as he was by the superhuman genius of Michael Angelo. The rest vanished; there only remained, up yonder, as in a limitless heaven, the extraordinary creations of the master’s art. That which at first surprised one was that the painter should have been the sole artisan of the mighty work. No marble cutters, no bronze workers, no gilders, no one of another calling had intervened. The painter with his brush had sufficed for all – for the pilasters, columns, and cornices of marble, for the statues and the ornaments of bronze, for the fleurons and roses of gold, for the whole of the wondrously rich decorative work which surrounded the frescoes. And Pierre imagined Michael Angelo on the day when the bare vault was handed over to him, covered with plaster, offering only a flat white surface, hundreds of square yards to be adorned. And he pictured him face to face with that huge white page, refusing all help, driving all inquisitive folks away, jealously, violently shutting himself up alone with his gigantic task, spending four and a half years in fierce solitude, and day by day adding to his colossal work of creation. Ah! that mighty work, a task to fill a whole lifetime, a task which he must have begun with quiet confidence in his own will and power, drawing, as it were, an entire world from his brain and flinging it there with the ceaseless flow of creative virility in the full heyday of its omnipotence.
And Pierre was yet more overcome when he began to examine these presentments of humanity, magnified as by the eyes of a visionary, overflowing in mighty sympathetic pages of cyclopean symbolisation. Royal grace and nobility, sovereign peacefulness and power – every beauty shone out like natural florescence. And there was perfect science, the most audacious foreshortening risked with the certainty of success – an everlasting triumph of technique over the difficulty which an arched surface presented. And, in particular, there was wonderful simplicity of medium; matter was reduced almost to nothingness; a few colours were used broadly without any studied search for effect or brilliancy. Yet that sufficed, the blood seethed freely, the muscles projected, the figures became animated and stood out of their frames with such energy and dash that it seemed as if a flame were flashing by aloft, endowing all those beings with superhuman and immortal life. Life, aye, it was life, which burst forth and triumphed – mighty, swarming life, miraculous life, the creation of one sole hand possessed of the supreme gift – simplicity blended with power.
That a philosophical system, a record of the whole of human destiny, should have been found therein, with the creation of the world, of man, and of woman, the fall, the chastisement, then the redemption, and finally God’s judgment on the last day – this was a matter on which Pierre was unable to dwell, at this first visit, in the wondering stupor into which the paintings threw him. But he could not help noticing how the human body, its beauty, its power, and its grace were exalted! Ah! that regal Jehovah, at once terrible and paternal, carried off amid the whirlwind of his creation, his arms outstretched and giving birth to worlds! And that superb and nobly outlined Adam, with extended hand, whom Jehovah, though he touch him not, animates with his finger – a wondrous and admirable gesture, leaving a sacred space between the finger of the Creator and that of the created – a tiny space, in which, nevertheless, abides all the infinite of the invisible and the mysterious. And then that powerful yet adorable Eve, that Eve with the sturdy flanks fit for the bearing of humanity, that Eve with the proud, tender grace of a woman bent on being loved even to perdition, that Eve embodying the whole of woman with her fecundity, her seductiveness, her empire! Moreover, even the decorative figures of the pilasters at the corners of the frescoes celebrate the triumph of the flesh: there are the twenty young men radiant in their nakedness, with incomparable splendour of torso and of limb, and such intensity of life that a craze for motion seems to carry them off, bend them, throw them over in superb attitudes. And between the windows are the giants, the prophets and the sibyls – man and woman deified, with inordinate wealth of muscle and grandeur of intellectual expression. There is Jeremiah with his elbow resting on his knee and his chin on his hand, plunged as he is in reflection – in the very depths of his visions and his dreams; there is the Sibylla Erithraea, so pure of profile, so young despite the opulence of her form, and with one finger resting on the open book of destiny; there is Isaiah with the thick lips of truth, virile and haughty, his head half turned and his hand raised with a gesture of command; there is the Sibylla Cumaea, terrifying with her science and her old age, her wrinkled countenance, her vulture’s nose, her square protruding chin; there is Jonah cast forth by the whale, and wondrously foreshortened, his torso twisted, his arms bent, his head thrown back, and his mouth agape and shouting: and there are the others, all of the same full-blown, majestic family, reigning with the sovereignty of eternal health and intelligence, and typifying the dream of a broader, loftier, and indestructible humanity. Moreover, in the lunettes and the arches over the windows other figures of grace, power, and beauty appear and throng, the ancestors of the Christ, thoughtful mothers with lovely nude infants, men with wondering eyes peering into the future, representatives of the punished weary race longing for the promised Redeemer; while in the pendentives of the four corners various biblical episodes, the victories of Israel over the Spirit of Evil, spring into life. And finally there is the gigantic fresco at the far end, the Last Judgment with its swarming multitude, so numerous that days and days are needed to see each figure aright, a distracted crowd, full of the hot breath of life, from the dead rising in response to the furious trumpeting of the angels, from the fearsome groups of the damned whom the demons fling into hell, even to Jesus the justiciar, surrounded by the saints and apostles, and to the radiant concourse of the blessed who ascend upheld by angels, whilst higher and still higher other angels, bearing the instruments of the Passion, triumph as in full glory. And yet, above this gigantic composition, painted thirty years subsequently, in the full ripeness of age, the ceiling retains its ethereality, its unquestionable superiority, for on it the artist bestowed all his virgin power, his whole youth, the first great flare of his genius.
And Pierre found but one word to express his feelings: Michael Angelo was the monster dominating and crushing all others. Beneath his immense achievement you had only to glance at the works of Perugino, Pinturicchio, Roselli, Signorelli, and Botticelli, those earlier frescoes, admirable in their way, which below the cornice spread out around the chapel.
Narcisse for his part had not raised his eyes to the overpowering splendour of the ceiling. Wrapt in ecstasy, he did not allow his gaze to stray from one of the three frescoes of Botticelli. “Ah! Botticelli,” he at last murmured; “in him you have the elegance and the grace of the mysterious; a profound feeling of sadness even in the midst of voluptuousness, a divination of the whole modern soul, with the most troublous charm that ever attended artist’s work.”
Pierre glanced at him in amazement, and then ventured to inquire: “You come here to see the Botticellis?”
“Yes, certainly,” the young man quietly replied; “I only come here for him, and five hours every week I only look at his work. There, just study that fresco, Moses and the daughters of Jethro. Isn’t it the most penetrating work that human tenderness and melancholy have produced?”
Then, with a faint, devout quiver in his voice and the air of a priest initiating another into the delightful but perturbing atmosphere of a sanctuary, he went on repeating the praises of Botticelli’s art; his women with long, sensual, yet candid faces, supple bearing, and rounded forms showing from under light drapery; his young men, his angels of doubtful sex, blending stateliness of muscle with infinite delicacy of outline; next the mouths he painted, fleshy, fruit-like mouths, at times suggesting irony, at others pain, and often so enigmatical with their sinuous curves that one knew not whether the words they left unuttered were words of purity or filth; then, too, the eyes which he bestowed on his figures, eyes of languor and passion, of carnal or mystical rapture, their joy at times so instinct with grief as they peer into the nihility of human things that no eyes in the world could be more impenetrable. And finally there were Botticelli’s hands, so carefully and delicately painted, so full of life, wantoning so to say in a free atmosphere, now joining, caressing, and even, as it were, speaking, the whole evincing such intense solicitude for gracefulness that at times there seems to be undue mannerism, though every hand has its particular expression, each varying expression of the enjoyment or pain which the sense of touch can bring. And yet there was nothing effeminate or false about the painter’s work: on all sides a sort of virile pride was apparent, an atmosphere of superb passionate motion, absolute concern for truth, direct study from life, conscientiousness, veritable realism, corrected and elevated by a genial strangeness of feeling and character that imparted a never-to-be-forgotten charm even to ugliness itself.
