{"id":9435,"date":"2015-01-20T15:04:53","date_gmt":"2015-01-20T14:04:53","guid":{"rendered":"http:\/\/www.conceptualfinearts.com\/cfa\/?p=9435"},"modified":"2015-01-20T15:25:01","modified_gmt":"2015-01-20T14:25:01","slug":"los-angels-and-new-york-will-host-andrea-del-sartos-first-show-in-the-us-lucretia-is-not-welcomed","status":"publish","type":"post","link":"https:\/\/www.conceptualfinearts.com\/cfa\/2015\/01\/20\/los-angels-and-new-york-will-host-andrea-del-sartos-first-show-in-the-us-lucretia-is-not-welcomed\/","title":{"rendered":"Los Angeles and NYC to host Andrea del Sarto&#8217;s first show in the US (but Lucrezia is not welcome)"},"content":{"rendered":"\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 33%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-1' class='gallery galleryid-9435 gallery-columns-3 gallery-size-thumbnail'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/01\/20\/los-angels-and-new-york-will-host-andrea-del-sartos-first-show-in-the-us-lucretia-is-not-welcomed\/andrea_del_sarto_-_madonna_of_the_harpies_-_wga00370\/'><img loading=\"lazy\" decoding=\"async\" width=\"128\" height=\"150\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/01\/Andrea_del_Sarto_-_Madonna_of_the_Harpies_-_WGA00370-410x480.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-9437\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-9437'>\n\t\t\t\tAndrea del Sarto, Madonna delle Arpie, 1517, Galleria degli Uffizi, Florence.\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/01\/20\/los-angels-and-new-york-will-host-andrea-del-sartos-first-show-in-the-us-lucretia-is-not-welcomed\/uffizi-644_e_2000\/'><img loading=\"lazy\" decoding=\"async\" width=\"117\" height=\"150\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/01\/Uffizi-644_E_2000-375x480.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-9438\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-9438'>\n\t\t\t\tAndrea del Sarto, Study of the Head of a Young Woman, ca. 1523. Red chalk, 8 9\/16 x 6 11\/16 in. Galleria degli Uffizi, Gabinetto dei Disegni e delle Stampe.\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/01\/20\/los-angels-and-new-york-will-host-andrea-del-sartos-first-show-in-the-us-lucretia-is-not-welcomed\/palazzo_pitti-1912_n_81_2000\/'><img loading=\"lazy\" decoding=\"async\" width=\"116\" height=\"150\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/01\/Palazzo_Pitti-1912_n_81_2000-372x480.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-9439\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-9439'>\n\t\t\t\tAndrea del Sarto, The Medici Holy Family, 1529. Oil on panel, 55 1\/8 x 40 15\/16 in. Palazzo Pitti, Galleria Palatina, Florence.\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>Among this year&#8217;s most awaited exhibitions there is the one dedicated to the Florentine late Renaissance master Andrea del Sarto, the first monographic show on this artist ever to be presented in the United States. <a href=\"http:\/\/www.frick.org\/exhibitions\/delsarto\" target=\"_blank\">\u201cAndrea del Sarto: The Renaissance Workshop in Action\u201d<\/a> will open first at the J. Paul Getty Museum in Los Angeles in summer 2015, then move at the Frick Collection in New York. The exhibition will gather together only three paintings, but they will be surrounded by an extraordinary collection of drawings, about fifty, uncovering the major role that this medium played in Andrea del Sarto&#8217;s art practice.<\/p>\n<p>&nbsp;<\/p>\n<p>This rare occasion will be an opportunity to familiarise with a master still little known to the general public, whose technical skills were certainly remarkable, yet his reputation was overcome in time by that of his more successful colleagues, such as Michelangelo and Raphael. But it will be also the occasion to question the art of an man who&#8217;s wings were clipped, according to Giorgio Vasari, by his greedy and pretending partner, Lucretia del Fede, as this dramatic monologue spoken in the voice of Andrea himself clearly tells. Once again, &#8220;forms follow fiction&#8221;.<\/p>\n<p>&nbsp;<\/p>\n<blockquote><p><em>But do not let us quarrel any more,\u00a0<\/em><br \/>\n<em>No, my Lucrezia; bear with me for once:\u00a0<\/em><br \/>\n<em>Sit down and all shall happen as you wish.\u00a0<\/em><br \/>\n<em>You turn your face, but does it bring your heart?\u00a0<\/em><br \/>\n<em>I\u2019ll work then for your friend\u2019s friend, never fear,\u00a0<\/em><br \/>\n<em>Treat his own subject after his own way,\u00a0<\/em><br \/>\n<em>Fix his own time, accept too his own price,\u00a0<\/em><br \/>\n<em>And shut the money into this small hand<\/em><br \/>\n<em>When next it takes mine. Will it? tenderly?\u00a0<\/em><br \/>\n<em>Oh, I\u2019ll content him,\u2014but to-morrow, Love!\u00a0<\/em><br \/>\n<em>I often am much wearier than you think,\u00a0<\/em><br \/>\n<em>This evening more than usual, and it seems\u00a0<\/em><br \/>\n<em>As if\u2014forgive now\u2014should you let me sit\u00a0<\/em><br \/>\n<em>Here by the window with your hand in mine\u00a0<\/em><br \/>\n<em>And look a half-hour forth on Fiesole,\u00a0<\/em><br \/>\n<em>Both of one mind, as married people use,\u00a0<\/em><br \/>\n<em>Quietly, quietly the evening through,\u00a0<\/em><br \/>\n<em>I might get up to-morrow to my work\u00a0<\/em><br \/>\n<em>Cheerful and fresh as ever. Let us try.\u00a0<\/em><br \/>\n<em>To-morrow, how you shall be glad for this!\u00a0<\/em><br \/>\n<em>Your soft hand is a woman of itself,\u00a0<\/em><br \/>\n<em>And mine the man\u2019s bared breast she curls inside.\u00a0<\/em><br \/>\n<em>Don\u2019t count the time lost, neither; you must serve\u00a0<\/em><br \/>\n<em>For each of the five pictures we require:\u00a0<\/em><br \/>\n<em>It saves a model. So! keep looking so\u2014\u00a0<\/em><br \/>\n<em>My serpentining beauty, rounds on rounds!\u00a0<\/em><br \/>\n<em>\u2014How could you ever prick those perfect ears,\u00a0<\/em><br \/>\n<em>Even to put the pearl there! oh, so sweet\u2014\u00a0<\/em><br \/>\n<em>My face, my moon, my everybody\u2019s moon,\u00a0<\/em><br \/>\n<em>Which everybody looks on and calls his,\u00a0<\/em><br \/>\n<em>And, I suppose, is looked on by in turn,\u00a0<\/em><br \/>\n<em>While she looks\u2014no one\u2019s: very dear, no less.\u00a0<\/em><br \/>\n<em>You smile? why, there\u2019s my picture ready made,\u00a0<\/em><br \/>\n<em>There\u2019s what we painters call our harmony!\u00a0<\/em><br \/>\n<em>A common greyness silvers everything,\u2014<\/em><br \/>\n<em>All in a twilight, you and I alike\u00a0<\/em><br \/>\n<em>\u2014You, at the point of your first pride in me\u00a0<\/em><br \/>\n<em>(That\u2019s gone you know),\u2014but I, at every point;\u00a0<\/em><br \/>\n<em>My youth, my hope, my art, being all toned down\u00a0<\/em><br \/>\n<em>To yonder sober pleasant Fiesole.\u00a0<\/em><br \/>\n<em>There\u2019s the bell clinking from the chapel-top;\u00a0<\/em><br \/>\n<em>That length of convent-wall across the way\u00a0<\/em><br \/>\n<em>Holds the trees safer, huddled more inside;\u00a0<\/em><br \/>\n<em>The last monk leaves the garden; days decrease,\u00a0<\/em><br \/>\n<em>And autumn grows, autumn in everything.\u00a0<\/em><br \/>\n<em>Eh? the whole seems to fall into a shape\u00a0<\/em><br \/>\n<em>As if I saw alike my work and self\u00a0<\/em><br \/>\n<em>And all that I was born to be and do,\u00a0<\/em><br \/>\n<em>A twilight-piece. Love, we are in God\u2019s hand.\u00a0<\/em><br \/>\n<em>How strange now, looks the life he makes us lead;\u00a0<\/em><br \/>\n<em>So free we seem, so fettered fast we are!\u00a0<\/em><br \/>\n<em>I feel he laid the fetter: let it lie!\u00a0<\/em><br \/>\n<em>This chamber for example\u2014turn your head\u2014\u00a0<\/em><br \/>\n<em>All that\u2019s behind us! You don\u2019t understand\u00a0<\/em><br \/>\n<em>Nor care to understand about my art,\u00a0<\/em><br \/>\n<em>But you can hear at least when people speak:\u00a0<\/em><br \/>\n<em>And that cartoon, the second from the door\u00a0<\/em><br \/>\n<em>\u2014It is the thing, Love! so such things should be\u2014\u00a0<\/em><br \/>\n<em>Behold Madonna!\u2014I am bold to say.\u00a0<\/em><br \/>\n<em>I can do with my pencil what I know,\u00a0<\/em><br \/>\n<em>What I see, what at bottom of my heart\u00a0<\/em><br \/>\n<em>I wish for, if I ever wish so deep\u2014\u00a0<\/em><br \/>\n<em>Do easily, too\u2014when I say, perfectly,\u00a0<\/em><br \/>\n<em>I do not boast, perhaps: yourself are judge,\u00a0<\/em><br \/>\n<em>Who listened to the Legate\u2019s talk last week,\u00a0<\/em><br \/>\n<em>And just as much they used to say in France.\u00a0<\/em><br \/>\n<em>At any rate \u2019tis easy, all of it!\u00a0<\/em><br \/>\n<em>No sketches first, no studies, that\u2019s long past:\u00a0<\/em><br \/>\n<em>I do what many dream of, all their lives,\u00a0<\/em><br \/>\n<em>\u2014Dream? strive to do, and agonize to do,\u00a0<\/em><br \/>\n<em>And fail in doing. I could count twenty such\u00a0<\/em><br \/>\n<em>On twice your fingers, and not leave this town,\u00a0<\/em><br \/>\n<em>Who strive\u2014you don\u2019t know how the others strive\u00a0<\/em><br \/>\n<em>To paint a little thing like that you smeared\u00a0<\/em><br \/>\n<em>Carelessly passing with your robes afloat,\u2014\u00a0<\/em><br \/>\n<em>Yet do much less, so much less, Someone says,\u00a0<\/em><br \/>\n<em>(I know his name, no matter)\u2014so much less!\u00a0<\/em><br \/>\n<em>Well, less is more, Lucrezia: I am judged.\u00a0<\/em><br \/>\n<em>There burns a truer light of God in them,\u00a0<\/em><br \/>\n<em>In their vexed beating stuffed and stopped-up brain,\u00a0<\/em><br \/>\n<em>Heart, or whate\u2019er else, than goes on to prompt\u00a0<\/em><br \/>\n<em>This low-pulsed forthright craftsman\u2019s hand of mine.\u00a0<\/em><br \/>\n<em>Their works drop groundward, but themselves, I know,\u00a0<\/em><br \/>\n<em>Reach many a time a heaven that\u2019s shut to me,\u00a0<\/em><br \/>\n<em>Enter and take their place there sure enough,\u00a0<\/em><br \/>\n<em>Though they come back and cannot tell the world.\u00a0<\/em><br \/>\n<em>My works are nearer heaven, but I sit here.\u00a0<\/em><br \/>\n<em>The sudden blood of these men! at a word\u2014\u00a0<\/em><br \/>\n<em>Praise them, it boils, or blame them, it boils too.\u00a0<\/em><br \/>\n<em>I, painting from myself and to myself,\u00a0<\/em><br \/>\n<em>Know what I do, am unmoved by men\u2019s blame\u00a0<\/em><br \/>\n<em>Or their praise either. Somebody remarks\u00a0<\/em><br \/>\n<em>Morello\u2019s outline there is wrongly traced,\u00a0<\/em><br \/>\n<em>His hue mistaken; what of that? or else,\u00a0<\/em><br \/>\n<em>Rightly traced and well ordered; what of that?\u00a0<\/em><br \/>\n<em>Speak as they please, what does the mountain care?\u00a0<\/em><br \/>\n<em>Ah, but a man\u2019s reach should exceed his grasp,\u00a0<\/em><br \/>\n<em>Or what\u2019s a heaven for? All is silver-grey,\u00a0<\/em><br \/>\n<em>Placid and perfect with my art: the worse!\u00a0<\/em><br \/>\n<em>I know both what I want and what might gain,\u00a0<\/em><br \/>\n<em>And yet how profitless to know, to sigh\u00a0<\/em><br \/>\n<em>\u201cHad I been two, another and myself,\u00a0<\/em><br \/>\n<em>\u201cOur head would have o\u2019erlooked the world!\u201d No doubt.\u00a0<\/em><br \/>\n<em>Yonder\u2019s a work now, of that famous youth\u00a0<\/em><br \/>\n<em>The Urbinate who died five years ago.\u00a0<\/em><br \/>\n<em>(\u2019Tis copied, George Vasari sent it me.)\u00a0<\/em><br \/>\n<em>Well, I can fancy how he did it all,\u00a0<\/em><br \/>\n<em>Pouring his soul, with kings and popes to see,\u00a0<\/em><br \/>\n<em>Reaching, that heaven might so replenish him,\u00a0<\/em><br \/>\n<em>Above and through his art\u2014for it gives way;\u00a0<\/em><br \/>\n<em>That arm is wrongly put\u2014and there again\u2014\u00a0<\/em><br \/>\n<em>A fault to pardon in the drawing\u2019s lines,\u00a0<\/em><br \/>\n<em>Its body, so to speak: its soul is right,\u00a0<\/em><br \/>\n<em>He means right\u2014that, a child may understand.\u00a0<\/em><br \/>\n<em>Still, what an arm! and I could alter it:\u00a0<\/em><br \/>\n<em>But all the play, the insight and the stretch\u2014\u00a0<\/em><br \/>\n<em>(Out of me, out of me! And wherefore out?\u00a0<\/em><br \/>\n<em>Had you enjoined them on me, given me soul,\u00a0<\/em><br \/>\n<em>We might have risen to Rafael, I and you!\u00a0<\/em><br \/>\n<em>Nay, Love, you did give all I asked, I think\u2014\u00a0<\/em><br \/>\n<em>More than I merit, yes, by many times.\u00a0<\/em><br \/>\n<em>But had you\u2014oh, with the same perfect brow,\u00a0<\/em><br \/>\n<em>And perfect eyes, and more than perfect mouth,\u00a0<\/em><br \/>\n<em>And the low voice my soul hears, as a bird\u00a0<\/em><br \/>\n<em>The fowler\u2019s pipe, and follows to the snare \u2014\u00a0<\/em><br \/>\n<em>Had you, with these the same, but brought a mind!\u00a0<\/em><br \/>\n<em>Some women do so. Had the mouth there urged\u00a0<\/em><br \/>\n<em>\u201cGod and the glory! never care for gain.\u00a0<\/em><br \/>\n<em>\u201cThe present by the future, what is that?\u00a0<\/em><br \/>\n<em>\u201cLive for fame, side by side with Agnolo!\u00a0<\/em><br \/>\n<em>\u201cRafael is waiting: up to God, all three!\u201d\u00a0<\/em><br \/>\n<em>I might have done it for you. So it seems:\u00a0<\/em><br \/>\n<em>Perhaps not. All is as God over-rules.\u00a0<\/em><br \/>\n<em>Beside, incentives come from the soul\u2019s self;\u00a0<\/em><br \/>\n<em>The rest avail not. Why do I need you?\u00a0<\/em><br \/>\n<em>What wife had Rafael, or has Agnolo?\u00a0<\/em><br \/>\n<em>In this world, who can do a thing, will not;\u00a0<\/em><br \/>\n<em>And who would do it, cannot, I perceive:\u00a0<\/em><br \/>\n<em>Yet the will\u2019s somewhat\u2014somewhat, too, the power\u2014\u00a0<\/em><br \/>\n<em>And thus we half-men struggle. At the end,\u00a0<\/em><br \/>\n<em>God, I conclude, compensates, punishes.\u00a0<\/em><br \/>\n<em>\u2019Tis safer for me, if the award be strict,\u00a0<\/em><br \/>\n<em>That I am something underrated here,\u00a0<\/em><br \/>\n<em>Poor this long while, despised, to speak the truth.\u00a0<\/em><br \/>\n<em>I dared not, do you know, leave home all day,\u00a0<\/em><br \/>\n<em>For fear of chancing on the Paris lords.\u00a0<\/em><br \/>\n<em>The best is when they pass and look aside;\u00a0<\/em><br \/>\n<em>But they speak sometimes; I must bear it all.\u00a0<\/em><br \/>\n<em>Well may they speak! That Francis, that first time,\u00a0<\/em><br \/>\n<em>And that long festal year at Fontainebleau!\u00a0<\/em><br \/>\n<em>I surely then could sometimes leave the ground,\u00a0<\/em><br \/>\n<em>Put on the glory, Rafael\u2019s daily wear,\u00a0<\/em><br \/>\n<em>In that humane great monarch\u2019s golden look,\u2014\u00a0<\/em><br \/>\n<em>One finger in his beard or twisted curl\u00a0<\/em><br \/>\n<em>Over his mouth\u2019s good mark that made the smile,\u00a0<\/em><br \/>\n<em>One arm about my shoulder, round my neck,\u00a0<\/em><br \/>\n<em>The jingle of his gold chain in my ear,\u00a0<\/em><br \/>\n<em>I painting proudly with his breath on me,\u00a0<\/em><br \/>\n<em>All his court round him, seeing with his eyes,\u00a0<\/em><br \/>\n<em>Such frank French eyes, and such a fire of souls\u00a0<\/em><br \/>\n<em>Profuse, my hand kept plying by those hearts,\u2014\u00a0<\/em><br \/>\n<em>And, best of all, this, this, this face beyond,\u00a0<\/em><br \/>\n<em>This in the background, waiting on my work,\u00a0<\/em><br \/>\n<em>To crown the issue with a last reward!\u00a0<\/em><br \/>\n<em>A good time, was it not, my kingly days?\u00a0<\/em><br \/>\n<em>And had you not grown restless&#8230; but I know\u2014\u00a0<\/em><br \/>\n<em>\u2019Tis done and past: \u2019twas right, my instinct said:\u00a0<\/em><br \/>\n<em>Too live the life grew, golden and not grey,\u00a0<\/em><br \/>\n<em>And I\u2019m the weak-eyed bat no sun should tempt\u00a0<\/em><br \/>\n<em>Out of the grange whose four walls make his world.\u00a0<\/em><br \/>\n<em>How could it end in any other way?\u00a0<\/em><br \/>\n<em>You called me, and I came home to your heart.\u00a0<\/em><br \/>\n<em>The triumph was\u2014to reach and stay there; since\u00a0<\/em><br \/>\n<em>I reached it ere the triumph, what is lost?\u00a0<\/em><br \/>\n<em>Let my hands frame your face in your hair\u2019s gold,\u00a0<\/em><br \/>\n<em>You beautiful Lucrezia that are mine!\u00a0<\/em><br \/>\n<em>\u201cRafael did this, Andrea painted that;\u00a0<\/em><br \/>\n<em>\u201cThe Roman\u2019s is the better when you pray,\u00a0<\/em><br \/>\n<em>\u201cBut still the other\u2019s Virgin was his wife\u2014\u201d\u00a0<\/em><br \/>\n<em>Men will excuse me. I am glad to judge\u00a0<\/em><br \/>\n<em>Both pictures in your presence; clearer grows\u00a0<\/em><br \/>\n<em>My better fortune, I resolve to think.\u00a0<\/em><br \/>\n<em>For, do you know, Lucrezia, as God lives,\u00a0<\/em><br \/>\n<em>Said one day Agnolo, his very self,\u00a0<\/em><br \/>\n<em>To Rafael . . . I have known it all these years . . .\u00a0<\/em><br \/>\n<em>(When the young man was flaming out his thoughts\u00a0<\/em><br \/>\n<em>Upon a palace-wall for Rome to see,\u00a0<\/em><br \/>\n<em>Too lifted up in heart because of it)\u00a0<\/em><br \/>\n<em>\u201cFriend, there\u2019s a certain sorry little scrub\u00a0<\/em><br \/>\n<em>\u201cGoes up and down our Florence, none cares how,\u00a0<\/em><br \/>\n<em>\u201cWho, were he set to plan and execute\u00a0<\/em><br \/>\n<em>\u201cAs you are, pricked on by your popes and kings,\u00a0<\/em><br \/>\n<em>\u201cWould bring the sweat into that brow of yours!\u201d\u00a0<\/em><br \/>\n<em>To Rafael\u2019s!\u2014And indeed the arm is wrong.\u00a0<\/em><br \/>\n<em>I hardly dare . . . yet, only you to see,\u00a0<\/em><br \/>\n<em>Give the chalk here\u2014quick, thus, the line should go!\u00a0<\/em><br \/>\n<em>Ay, but the soul! he\u2019s Rafael! rub it out!\u00a0<\/em><br \/>\n<em>Still, all I care for, if he spoke the truth,\u00a0<\/em><br \/>\n<em>(What he? why, who but Michel Agnolo?\u00a0<\/em><br \/>\n<em>Do you forget already words like those?)\u00a0<\/em><br \/>\n<em>If really there was such a chance, so lost,\u2014\u00a0<\/em><br \/>\n<em>Is, whether you\u2019re\u2014not grateful\u2014but more pleased.\u00a0<\/em><br \/>\n<em>Well, let me think so. And you smile indeed!\u00a0<\/em><br \/>\n<em>This hour has been an hour! Another smile?\u00a0<\/em><br \/>\n<em>If you would sit thus by me every night\u00a0<\/em><br \/>\n<em>I should work better, do you comprehend?\u00a0<\/em><br \/>\n<em>I mean that I should earn more, give you more.\u00a0<\/em><br \/>\n<em>See, it is settled dusk now; there\u2019s a star;\u00a0<\/em><br \/>\n<em>Morello\u2019s gone, the watch-lights show the wall,\u00a0<\/em><br \/>\n<em>The cue-owls speak the name we call them by.\u00a0<\/em><br \/>\n<em>Come from the window, love,\u2014come in, at last,\u00a0<\/em><br \/>\n<em>Inside the melancholy little house\u00a0<\/em><br \/>\n<em>We built to be so gay with. God is just.\u00a0<\/em><br \/>\n<em>King Francis may forgive me: oft at nights\u00a0<\/em><br \/>\n<em>When I look up from painting, eyes tired out,\u00a0<\/em><br \/>\n<em>The walls become illumined, brick from brick\u00a0<\/em><br \/>\n<em>Distinct, instead of mortar, fierce bright gold,\u00a0<\/em><br \/>\n<em>That gold of his I did cement them with!\u00a0<\/em><br \/>\n<em>Let us but love each other. Must you go?\u00a0<\/em><br \/>\n<em>That Cousin here again? he waits outside?\u00a0<\/em><br \/>\n<em>Must see you\u2014you, and not with me? Those loans?\u00a0<\/em><br \/>\n<em>More gaming debts to pay? you smiled for that?\u00a0<\/em><br \/>\n<em>Well, let smiles buy me! have you more to spend?\u00a0<\/em><br \/>\n<em>While hand and eye and something of a heart\u00a0<\/em><br \/>\n<em>Are left me, work\u2019s my ware, and what\u2019s it worth?\u00a0<\/em><br \/>\n<em>I\u2019ll pay my fancy. Only let me sit\u00a0<\/em><br \/>\n<em>The grey remainder of the evening out,\u00a0<\/em><br \/>\n<em>Idle, you call it, and muse perfectly\u00a0<\/em><br \/>\n<em>How I could paint, were I but back in France,\u00a0<\/em><br \/>\n<em>One picture, just one more\u2014the Virgin\u2019s face,\u00a0<\/em><br \/>\n<em>Not yours this time! I want you at my side\u00a0<\/em><br \/>\n<em>To hear them\u2014that is, Michel Agnolo\u2014\u00a0<\/em><br \/>\n<em>Judge all I do and tell you of its worth.\u00a0<\/em><br \/>\n<em>Will you? To-morrow, satisfy your friend.\u00a0<\/em><br \/>\n<em>I take the subjects for his corridor,\u00a0<\/em><br \/>\n<em>Finish the portrait out of hand\u2014there, there,\u00a0<\/em><br \/>\n<em>And throw him in another thing or two\u00a0<\/em><br \/>\n<em>If he demurs; the whole should prove enough\u00a0<\/em><br \/>\n<em>To pay for this same Cousin\u2019s freak. Beside,\u00a0<\/em><br \/>\n<em>What\u2019s better and what\u2019s all I care about,\u00a0<\/em><br \/>\n<em>Get you the thirteen scudi for the ruff!\u00a0<\/em><br \/>\n<em>Love, does that please you? Ah, but what does he,\u00a0<\/em><br \/>\n<em>The Cousin! what does he to please you more?<\/em><br \/>\n<em>I am grown peaceful as old age to-night.\u00a0<\/em><br \/>\n<em>I regret little, I would change still less.\u00a0<\/em><br \/>\n<em>Since there my past life lies, why alter it?\u00a0<\/em><br \/>\n<em>The very wrong to Francis!\u2014it is true\u00a0<\/em><br \/>\n<em>I took his coin, was tempted and complied,\u00a0<\/em><br \/>\n<em>And built this house and sinned, and all is said.\u00a0<\/em><br \/>\n<em>My father and my mother died of want.\u00a0<\/em><br \/>\n<em>Well, had I riches of my own? you see\u00a0<\/em><br \/>\n<em>How one gets rich! Let each one bear his lot.\u00a0<\/em><br \/>\n<em>They were born poor, lived poor, and poor they died:\u00a0<\/em><br \/>\n<em>And I have laboured somewhat in my time\u00a0<\/em><br \/>\n<em>And not been paid profusely. Some good son\u00a0<\/em><br \/>\n<em>Paint my two hundred pictures\u2014let him try!\u00a0<\/em><br \/>\n<em>No doubt, there\u2019s something strikes a balance. Yes,\u00a0<\/em><br \/>\n<em>You loved me quite enough. it seems to-night.\u00a0<\/em><br \/>\n<em>This must suffice me here. What would one have?\u00a0<\/em><br \/>\n<em>In heaven, perhaps, new chances, one more chance\u2014\u00a0<\/em><br \/>\n<em>Four great walls in the New Jerusalem,\u00a0<\/em><br \/>\n<em>Meted on each side by the angel\u2019s reed,\u00a0<\/em><br \/>\n<em>For Leonard, Rafael, Agnolo and me\u00a0<\/em><br \/>\n<em>To cover\u2014the three first without a wife,\u00a0<\/em><br \/>\n<em>While I have mine! So\u2014still they overcome\u00a0<\/em><br \/>\n<em>Because there\u2019s still Lucrezia,\u2014as I choose.<\/em><\/p>\n<p><em>Again the Cousin\u2019s whistle! Go, my Love.<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>Robert Browning, The Faultless Painter, 1855.<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"<p>Among this year&#8217;s most awaited exhibitions there is the one dedicated to the Florentine late Renaissance master Andrea del Sarto, the first monographic show on this artist ever to be [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":9438,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1796],"tags":[349],"class_list":["post-9435","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mapping-the-artscape","tag-andrea-del-sarto"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/posts\/9435","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/comments?post=9435"}],"version-history":[{"count":0,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/posts\/9435\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/media\/9438"}],"wp:attachment":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/media?parent=9435"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/categories?post=9435"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/tags?post=9435"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}