The Path of the King [41]
in which he walked as king, since he was its creator.
He was a child of many fancies, but one especially stayed with him. When still very small, he slept in a cot in his grandmother's room, the walls of which were hung with tapestry from the Arras looms. One picture caught his eye, for the morning sun struck it, and when he woke early it glowed invitingly before him. It represented a little river twining about a coppice. There was no figure in the piece, which was bounded on one side by a great armoire, and on the other by the jamb of the chimney; but from extreme corner projected the plume of a helmet and the tip of a lance. There was someone there; someone riding towards the trees. It grew upon Philip that that little wood was a happy place, most happy and desirable. He fancied himself the knight, and he longed to be moving up the links of the stream. He followed every step of the way, across the shallow ford, past the sedges of a backwater, between two clumps of willows, and then over smooth green grass to the edge of the wood. But he never tried to picture what lay inside. That was sacred--even from his thoughts.
When he grew older and was allowed to prowl about in the scriptorium of the Abbey of Montmirail which lay by the Canche side, he found his wood again. It was in a Psaltery on which a hundred years before some Flemish monk had lavished his gold and vermilion. Opposite the verse of Psalm xxiii., "In loco pascuae," was a picture almost the same as that in the bedroom arras. There were the river, the meadows, and the little wood, painted in colours far brighter than the tapestry. Never was such bloom of green or such depth of blue. But there was a difference. No lance or plume projected from the corner. The traveller had emerged from cover, and was walking waist-deep in the lush grasses. He was a thin, nondescript pilgrim, without arms save a great staff like the crozier of a Bishop. Philip was disappointed in him and preferred the invisible knight, but the wood was all he had desired. It was indeed a blessed place, and the old scribe had known it, for a scroll of gold hung above it with the words "Sylva Vitae."
At the age of ten the boy had passed far beyond Father Ambrose, and was sucking the Abbey dry of its learning, like some second Abelard. In the cloisters of Montmirail were men who had a smattering of the New Knowledge, about which Italy had gone mad, and, by the munificence of the Countess Catherine, copies had been made by the Italian stationarii of some of the old books of Rome which the world had long forgotten. In the Abbey library, among a waste of antiphonaries and homilies and monkish chronicles, were to be found texts of Livy and Lucretius and the letters of Cicero. Philip was already a master of Latin, writing it with an elegance worthy of Niccolo the Florentine. At fourteen he entered the college of Robert of Sorbonne, but found little charm in its scholastic pedantry. But in the capital he learned the Greek tongue from a Byzantine, the elder Lascaris, and copied with his own hand a great part of Plato and Aristotle. His thirst grew with every draught of the new vintage. To Pavia he went and sat at the feet of Lorenzo Vallo. The company of Pico della Mirandola at Florence sealed him of the Platonic school, and like his master he dallied with mysteries and had a Jew in his house to teach him Hebrew that he might find a way of reconciling the Scriptures and the classics, the Jew and the Greek. From the verses which he wrote at this time, beautifully turned hexameters with a certain Lucretian cadence, it is clear that his mind was like Pico's, hovering about the borderland of human knowledge, clutching at the eternally evasive. Plato's Banquet was his gospel, where the quest of truth did not lack the warmth of desire. Only a fragment remains now of the best of his poems, that which earned the praise of Ficino and the great Lorenzo, and it is significant that the name of the piece was "The Wood of Life."
At twenty Philip returned to Beaumanoir after long wanderings. He was the perfect
He was a child of many fancies, but one especially stayed with him. When still very small, he slept in a cot in his grandmother's room, the walls of which were hung with tapestry from the Arras looms. One picture caught his eye, for the morning sun struck it, and when he woke early it glowed invitingly before him. It represented a little river twining about a coppice. There was no figure in the piece, which was bounded on one side by a great armoire, and on the other by the jamb of the chimney; but from extreme corner projected the plume of a helmet and the tip of a lance. There was someone there; someone riding towards the trees. It grew upon Philip that that little wood was a happy place, most happy and desirable. He fancied himself the knight, and he longed to be moving up the links of the stream. He followed every step of the way, across the shallow ford, past the sedges of a backwater, between two clumps of willows, and then over smooth green grass to the edge of the wood. But he never tried to picture what lay inside. That was sacred--even from his thoughts.
When he grew older and was allowed to prowl about in the scriptorium of the Abbey of Montmirail which lay by the Canche side, he found his wood again. It was in a Psaltery on which a hundred years before some Flemish monk had lavished his gold and vermilion. Opposite the verse of Psalm xxiii., "In loco pascuae," was a picture almost the same as that in the bedroom arras. There were the river, the meadows, and the little wood, painted in colours far brighter than the tapestry. Never was such bloom of green or such depth of blue. But there was a difference. No lance or plume projected from the corner. The traveller had emerged from cover, and was walking waist-deep in the lush grasses. He was a thin, nondescript pilgrim, without arms save a great staff like the crozier of a Bishop. Philip was disappointed in him and preferred the invisible knight, but the wood was all he had desired. It was indeed a blessed place, and the old scribe had known it, for a scroll of gold hung above it with the words "Sylva Vitae."
At the age of ten the boy had passed far beyond Father Ambrose, and was sucking the Abbey dry of its learning, like some second Abelard. In the cloisters of Montmirail were men who had a smattering of the New Knowledge, about which Italy had gone mad, and, by the munificence of the Countess Catherine, copies had been made by the Italian stationarii of some of the old books of Rome which the world had long forgotten. In the Abbey library, among a waste of antiphonaries and homilies and monkish chronicles, were to be found texts of Livy and Lucretius and the letters of Cicero. Philip was already a master of Latin, writing it with an elegance worthy of Niccolo the Florentine. At fourteen he entered the college of Robert of Sorbonne, but found little charm in its scholastic pedantry. But in the capital he learned the Greek tongue from a Byzantine, the elder Lascaris, and copied with his own hand a great part of Plato and Aristotle. His thirst grew with every draught of the new vintage. To Pavia he went and sat at the feet of Lorenzo Vallo. The company of Pico della Mirandola at Florence sealed him of the Platonic school, and like his master he dallied with mysteries and had a Jew in his house to teach him Hebrew that he might find a way of reconciling the Scriptures and the classics, the Jew and the Greek. From the verses which he wrote at this time, beautifully turned hexameters with a certain Lucretian cadence, it is clear that his mind was like Pico's, hovering about the borderland of human knowledge, clutching at the eternally evasive. Plato's Banquet was his gospel, where the quest of truth did not lack the warmth of desire. Only a fragment remains now of the best of his poems, that which earned the praise of Ficino and the great Lorenzo, and it is significant that the name of the piece was "The Wood of Life."
At twenty Philip returned to Beaumanoir after long wanderings. He was the perfect