The White Company by Arthur Conan Doyle (ereader manga TXT) 📕

“Dear father,” cried Tita, still supporting the angry old man, as he limped up the curved oaken stair. “You must not forget that these good signori who have preserved us are also English.”

“Ah, yes. My pardon, sirs! Come into my rooms here. There are some who might find some pleasure in these paintings, but I learn the art of war is the only art which is held in honor in your island.”

The low-roofed, oak-panelled room into which he conducted them was brilliantly lit by four scented oil lamps. Against the walls, upon the table, on the floor, and in every part of the chamber were great sheets of glass painted in the most brilliant colors. Ford and Edricson gazed around them in amazement, for never had they seen such magnificent works of art.

“You like them then,” the lame artist cried, in answer to the look of pleasure and of surprise in their faces. “There are then some of you who have a taste for such trifling.”

“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 the 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