Introduction to Robert Browning [59]
were in the house of the novices, under the care of the master, to the end that the latter might see what could be done with him; in place of studying, he never did anything but daub his own books, and those of the other boys, with caricatures, whereupon the prior determined to give him all means and every opportunity for learning to draw. The chapel of the Carmine had then been newly painted by Masaccio, and this being exceedingly beautiful, pleased Fra Filippo greatly, wherefore he frequented it daily for his recreation, and, continually practising there, in company with many other youths, who were constantly drawing in that place, he surpassed all the others by very much in dexterity and knowledge. . . . Proceeding thus, and improving from day to day, he had so closely followed the manner of Masaccio, and his works displayed so much similarity to those of the latter, that many affirmed the spirit of Masaccio to have entered the body of Fra Filippo. . . .
-- *1* The date of birth differs in the biographies, it being variously given as 1400, 1406, 1410, and 1412. But the latter appears to be the one generally accepted. *2* It was customary, on entering a convent, to change the baptismal name for some other. --
"It is said that Fra Filippo was much addicted to the pleasures of sense, insomuch that he would give all he possessed to secure the gratification of whatever inclination might at the moment be predominant; . . . It was known that, while occupied in the pursuit of his pleasures, the works undertaken by him received little or none of his attention; for which reason Cosimo de' Medici, wishing him to execute a work in his own palace, shut him up, that he might not waste his time in running about; but having endured this confinement for two days, he then made ropes with the sheets of his bed, which he cut to pieces for that purpose, and so having let himself down from a window, escaped, and for several days gave himself up to his amusements. When Cosimo found that the painter had disappeared, he caused him to be sought, and Fra Filippo at last returned to his work, but from that time forward Cosimo gave him liberty to go in and out at his pleasure, repenting greatly of having previously shut him up, when he considered the danger that Fra Filippo had incurred by his folly in descending from the window; and ever afterwards laboring to keep him to his work by kindness only, he was by this means much more promptly and effectually served by the painter, and was wont to say that the excellencies of rare genius were as forms of light and not beasts of burden."
A Face.
The speaker imagines the head of a beautiful girl he knows, "painted upon a background of pale gold, such as the Tuscan's early art prefers", and details the picture as he would have it.
The Bishop orders his Tomb. The Bishop orders his Tomb at St. Praxed's Church. * [Rome, 15--.]
-- * First published in `Hood's Magazine', March, 1845, No. III., vol. iii., pp. 237-239, under the title `The Tomb at St. Praxed's (Rome, 15--)'.
"This poem and `The Flight of the Duchess' were sent by Browning to help make up the numbers of the magazine while Hood lay dying." -- Furnivall's `Bibliography of Robert Browning', p. 48. --
The dying Bishop pleads with his natural sons that they give him the sumptuous tomb they stand pledged to, -- such a tomb as will excite the envy of his old enemy Gandolf, who cheated him out of a favorite niche in St. Praxed's Church, by dying before him, and securing it for his tomb.
It is not necessary to suppose that the natural sons are present. His, perhaps, delirious mind is occupied with the precious marbles and stones and other luxuries he has loved to much, and with his old rival and enemy, Gandolf.
John Ruskin, in his `Modern Painters' (Vol. IV., chap. XX., Section 32), remarks: --
"Robert Browning is unerring in every sentence he writes of the Middle Ages; always vital, right, and profound; so that in the matter of art, . . .there is hardly a principle connected with the mediaeval temper,
-- *1* The date of birth differs in the biographies, it being variously given as 1400, 1406, 1410, and 1412. But the latter appears to be the one generally accepted. *2* It was customary, on entering a convent, to change the baptismal name for some other. --
"It is said that Fra Filippo was much addicted to the pleasures of sense, insomuch that he would give all he possessed to secure the gratification of whatever inclination might at the moment be predominant; . . . It was known that, while occupied in the pursuit of his pleasures, the works undertaken by him received little or none of his attention; for which reason Cosimo de' Medici, wishing him to execute a work in his own palace, shut him up, that he might not waste his time in running about; but having endured this confinement for two days, he then made ropes with the sheets of his bed, which he cut to pieces for that purpose, and so having let himself down from a window, escaped, and for several days gave himself up to his amusements. When Cosimo found that the painter had disappeared, he caused him to be sought, and Fra Filippo at last returned to his work, but from that time forward Cosimo gave him liberty to go in and out at his pleasure, repenting greatly of having previously shut him up, when he considered the danger that Fra Filippo had incurred by his folly in descending from the window; and ever afterwards laboring to keep him to his work by kindness only, he was by this means much more promptly and effectually served by the painter, and was wont to say that the excellencies of rare genius were as forms of light and not beasts of burden."
A Face.
The speaker imagines the head of a beautiful girl he knows, "painted upon a background of pale gold, such as the Tuscan's early art prefers", and details the picture as he would have it.
The Bishop orders his Tomb. The Bishop orders his Tomb at St. Praxed's Church. * [Rome, 15--.]
-- * First published in `Hood's Magazine', March, 1845, No. III., vol. iii., pp. 237-239, under the title `The Tomb at St. Praxed's (Rome, 15--)'.
"This poem and `The Flight of the Duchess' were sent by Browning to help make up the numbers of the magazine while Hood lay dying." -- Furnivall's `Bibliography of Robert Browning', p. 48. --
The dying Bishop pleads with his natural sons that they give him the sumptuous tomb they stand pledged to, -- such a tomb as will excite the envy of his old enemy Gandolf, who cheated him out of a favorite niche in St. Praxed's Church, by dying before him, and securing it for his tomb.
It is not necessary to suppose that the natural sons are present. His, perhaps, delirious mind is occupied with the precious marbles and stones and other luxuries he has loved to much, and with his old rival and enemy, Gandolf.
John Ruskin, in his `Modern Painters' (Vol. IV., chap. XX., Section 32), remarks: --
"Robert Browning is unerring in every sentence he writes of the Middle Ages; always vital, right, and profound; so that in the matter of art, . . .there is hardly a principle connected with the mediaeval temper,