^1, >v^^ - ^?.. — -i^ -*^ A^ICE-V- SAMUELS' Class__?3_3-S_:3:2L Book _J. 13 ri__ Copyright )^^'_:_]-l^^- COPYRIGHT DEPOSIT. / 75 3^3-1 I a o ^ — jIlBRARYof CONG R ESS 1 I Two Copies Received NOV 18 I9U4 CLASS au xXc, Noi COPY 6. Copyright 1903, 1904, by MAURICE V. SAMUELS ENTERED AT STATIONERS' HALL, LONDON All rig /its reserved (Printed in the United States) TO MY PARENTS ^b I N those dark periods of self-distrust, When Inspiration, sleeping, seems away, And Night refuses promise of the Day, If then we toil, 'tis only that we must. And not because we know that All is just. Or that the struggling Self is more than clay, Ill-fitted and faint-hearted for the fray Which offers, tho' we conquer, but Life's crust. What then recalls the courage that we miss ? What holds our Faith alive and gives us power To trample thicket and to wing abyss ? 'Tis that eternal, never wasting dower : The trust of those who love us. It is this That turns our empty time to fruitful hour. October 3, igo4 CHARACTERS Benvenuto Cellini Ai Forty-Jive CosiMO De Medici Duke of Florence Marsilio Giotto Cellini's Apprentice Baccio Bandinello A Rival of Cellini Alfonso Da Trotti . . . A Gentleman of Florence Pier Francesco Riccio . . Major Domo to the Duke Giovan Battista "] JacopO Pontormo \ . . Artists, friends of Cellini Lelio Torello J Vittorio Bargello of Florence The Duchess of Florence . Wife of Cosimo Dd Medici Lady Leonora Rucellai . Her Friend and Cosimo's Ward Federiga . . , Cellini's Model A Soldier Time of Play, 1545 Place: Florence SYNOPSIS ACT I Scene I. — Dining-hall in the Jiouse of Pontormo, the painter. {Afternoon.) Scene II. — Garden of Palace of DuKE CosiMO. {Eve- ning of the same day.) ACT II Scene I. — Workshop and Studio of Cellini. {A few days later.) Scene II. — A Room in the Palace. {Ten minutes after- ward. ) ACT III Another Room in the Palace. {Five weeks have elapsed.^ ACT I Scene I. — Dining-hall in the house of JACOPO PONTORMO, a Painter, in Flore^ice. It is about four i7i the aftemooii. In gay attire ^ all (PoNTORMO ayid his guests) are seated about a table. The repast completed, a ser- vant is kept busy refilling glasses. Discovered : Jacopo Pontormo, Giovan BaT- TiSTA, you?ig and light-hearted. Alfonso Da TrotTI, a gallant of sixty. lyELiO To- rELIvO, the husband of an intellectual woman. Baccio Bandinello, cold and precise. {At table drinking, and talking boisterously. ) Da TroTTi (rising and keeping his feet with some diffictilty, in heroic attitude) Friends, liken me unto an argosy, Still stanch and daring, tho' I rock and reel In this mad tumult of a reddened sea. TORELLO . Da Trotti is a poet ! Battista In his cups! 12 THE FLORENTINES Da Trotti Behold me grappled by a pirate crew, Who would extort my most unwilling story ! ToRELIvO Oh, tell your tale curtailed ! Who is the lady ? Bandinello Aye, we would toast her, beauty or no beauty. Da Trotti Your interruptions are the wintry blasts. Too sudden and tempestuous for welcome. I sail too boldly, too much canvas spread. For me to reach a port — [In gesticulating , he pushes his chair from its place, and pauses^ confused. BatTista (^forcing him into the chair) Or seat in safety ! Bandinello {rising) Could I forego my common sense for didlion, I would declare that you have navigated Full quite as many oceans, and have crossed Not one less bar than some gay gondola, THE FLORENTINES 13 Painted and gilded, fragile as a leaf, Has, in the streets of Venice. {Scornfully) Argosy ! \He sits down. Da Trotti {angrily) You, sir, resemble more some fisher's craft. Filled high with cold and clammy and dead things, PONTORNO Come, come, our cups await! Battista My throat's a furrow That, parched and aching, craves refreshing draught. Da Trotti Well, then, your ears! Since each has told his story Of rare good fortune found 'mid gracious ladies, Shall I prove recreant to Aphrodite, Deny that I am young enough for favors ? Bandinello If you would have us all believe. Da Trotti, Your ripened years can move soft hearts to love Rather than to derision, specify ! 14 THE FLORENTINES Da Trotti Her name! Why, gentlemen, there's more than one! So many truly that I scarce recall Which was the last to turn sweet glance upon me. ToRELl,o {laughing) A connoisseur who knows not gems apart, Although he boasts so goodly a colledtion. Bandinello {coldly') 'Tis but evasion. Give the lady's name! Da Trotti {defiantly) Well, 'twas Cassandra Mantuano, friends! Bandinello {scornfully) Da Trotti won Cassandra Mantuano! Da Trotti {angrily) Believe it as you will. I know the truth. \Some confusion outside. Enter Cellini and Marsilio, l. 2, e. All show pleasure but Bandinei,i*o. THE FLORENTINES 15 Cellini Count it rare fortune that you now behold me ! [Marsilio mingles with others, who have risen and surround them. TORELLO Good Benvenuto, was she dark or fair ? Cellini Dark, being bronze! That impatient Duke, you see, Was so enamored of a vase I cast For his good Duchess that he kept me prisoner — Yes, held me thus (^grasping his own doubled) until I gave my promise That I would work to-morrow on its mate. [Sinking into a chair. Oh! What a thing it is to be an artist ! ( Very seriously^ Do you know, friends, I seldom get my sleep! PONTORMO Forget your labors. Try some warm Chianti ! [Cellini drinks. Ha! Good! Your friend, Marsilio! Most wel- come. 1 6 THE FI.ORENTINES Da Trotti Now here's a man who cannot match one summer 'Gainst two of mine — a very young man, this! Battista Say three, Da Trotti, and be nearer truth. Da Trotti Well, then, smiles greeted me ere you were born! So be it! I suppose 'tis safe to say You credit his all inexperienced youth With triumphs you deny maturity. Again, so be it! What you do not know You lack the wit to know you do not know. Battista {addressing Marsilio) You come in time to make your contribution, So that, according to the splendid custom Of this Society of Mirth Provokers, We may congratulate a fellow member And incidentally regale our ears. Marsilio What is it you require ? Call it done. Celuni These rascals, whom the foolish folk of Florence {Pointing to each. THE FLORENTINES 17 Call artists, men of letters — and poor wits — Make it a rule, my dear Marsilio, At these reunions, in the name of friendship, To tell what prett)'^ feat of archery With Cupid's arrow they have last achieved. 'Tis sad we come so late! Da Trotti In other words, It is our pleasing method to describe The fair ones who have yielded to our spells And thus to share delight. l^Moves tmsteadily. Marsilio (^coldly') 'Tis new to me. And I shall ask permission to be silent. CEIvLINI These are my friends. And this requirement Is quite a simple one, and very just. Shall Pleasure have his fill, and then deny Companionship the mere description of it ? Marsilio, this is no case for scruple ! I would not blame you for such reticence THE FLORENTINES If friends should ask the secret of some art To bring the lustre to a deadened stone, Or of original sword-pass for defense, Or of ingenious method to cast metal — \Turning to others. And, by the way, Cellini's not a goldsmith — However famed the balance of his days — Who shrinks from the high labor of the sculptor! PONTORMO (^cordially') Why should you not, Cellini, match your skill 'Gainst Michael Angelo's? Battista Your blood is warmer [ With wave for a toast. And your imagination — well — Cellini ! \They drink. Bandinello merely pre- tends to do so. Da Trotti {pointing to Marsii,io, who sits moodily apart) The youth! I'll wager that he has been looking Too long into the depths of violet eyes {as if see- ing such in the air before him), THE FLORENTINES 19 Or blue, or gray, or brown — they 're much alike! — Too long, I say, for — what was it I meant ? Mine host, Pontormo, 'tis a heady wine — \Supporting hiviself by hand on chair. Da Trotti, now you have your wits again! Young man, stand up, and with great eloquence Tell us — well, tell of your last love affair I \Sinks into chair. Battista Or we'll expel you from our company — The gayest wits, the lightest hearts of Florence. \Cordial endorsetnent of sentiment. CE1.1.INI {modestly) And some there are who are not without fame. \All laugh and 7iod approvingly, except Bandinello. Praise me not overmuch. ( Very seriously') Heaven aids me. Pontormo. Which proves the Lord is very merciful To confessed sinners, gallant Benvenuto! 20 THE FI.ORENTINES Da TroTTi {with a sweeping gesture) I am the only man in this assemblage Who can remember what he wants! The story! ToRELLO {turning to Marsilio) Aye, who is she? And when and where did you Encounter her ? And is she a brunette, Or has she eyes like our Italian sky ? And is her hair as tawny as the lion's The King of Portugal sends to the Pope ? [Marsilio rises protestingly . Bandinei^LO {rising and waving Marsii,io down^ Pray take your seat, Marsilio, and I Who have done honor to my latest triumph Shall furnish you criteria of beauty Before you venture to portray her. Here ! [Pompously displaying manuscript. Behold ! Notes of Firenzuola's lecture On Female Beauty, given at a gathering Of wives and daughters of learned Florentines. [All manifest incredulity. THE FLORENTINES 21 TORELLO I have no doubt my wife was there. But who Gave memoranda to cold Bandinello ? Bandinello Bandinello! T0RE1.1.0 Why, you cannot mean — You heard a lecture meant for ladies only ? Bandinello Just so ! I thought it might prove interesting. I borrowed clothes from Pantasilea — [Cellini starts angrily. ( Tauntingly) Nay, nay, Cellini ! There are others favored ! And then some rouge, some paste, a dainty per- fume, Affe(5led walk, a manner supercilious, A mood of silence — and I heard the ledlure ! [Much merriment. Battista Firenzuola ! That great theorist ! Methinks I could deliver such a discourse. 22 THE FLORENTINES Bandineli^o Firenzuola said — ToRELi,o How long is it ? Battista Epitomize ! Da Trotti We want Marsilio's tale ! Bandinello {annoyed by interruptions, and re- ferring to memorandum) The hair — thick, long, and silky. Skin — ToREi,i,o Peach-like! Bandinei,i,o No ; clear and light, but not dead white. The eyebrows — Dark and silky, middle strongly marked — Cellini {authoritatively) But shading off — Bandinello {coldly) Yes, toward the ears and nose. The whites o' the eyes just faintly tinged with blue. THE FLORENTINES 23 Battista The eyes themselves — not the protruding kind ? BANDINELI.0 Ivarge, full, well-formed; the color — each his taste! The lids— Da Trotti What of the lids ? I like the languid sort. Bandinello White save for red veins most invisible — The hollow round the eye — TORELLO Alas ! the morning ! BANDINEL1.0 Should show the color of the cheek. The ears With edge of a transparent ruddiness — Da Trotti Like pomegranates — TORELLO Hush, old reprobate ! Da Trotti You speak of years as if they checked experience f 24 THE FI.QRENTINES Bandinello {^emphatically^ Firenzuola said the nose — Battista Is Greek ! CsirLiNi {thoughtfully) But not too straight for strength — Battista Ivike mine ! BANDINELI.O {rapidly, to prevent interruption) Should recede gently and most uniformly. But where the cartilage comes to an end An elevation there may be, if slight, And yet the nose must not be aquiline. The mouth — Da Trotti {longingly) What of the mouth? — that glorious throne of lyove ! Bandinello Since sometimes, by an accident, 'tis open, Care must be taken lest more than six teeth Should be revealed. Da Trotti {disgusted) Firenzuola 's stupid ! THE FLORENTINES 25 Bandinello The lips— Da Trotti Ah, now give something worth the hearing ! BandinELI,o (maliciously^ Should never be too thin. T0RELI.0 (^chuckling) My wife heard that ! Bandinello A dimple — Cellini {thoughtfully') 'Tis an adjun(5t! Not essential! Bandinello But welcome, says my lecturer, as is The tempting smile that sometimes lights the corner — The left — of a small mouth — Battista {dissenting ly) Why always small ? ToRELLO {as one of experience) To hide, if but a moment, ample tongue. 26 THE FLORENTINES BandineIwLO {much annoyed) Wlio heard Firenzuola, you or I ? [Hurries along. The chin is most important — should be round, Not pointed, not curved outward, ever growing Reddened a trifle as it rises. The shoulders — Da Trotti {rising to his feet) What of the shoulders ? Hearken ! My opinion — Celi^ini Is based on mere conjecture. TORELI^O And hence useless. \Pulling him down. Da Trotti Well, I know things! But never mind, I'm old! BANDINEIvIvO My notes are blurred. No matter. Now the hands! Da Trotti How you digress. I would that I had heard The treatise! Battista Ah! if you had heard, Da Trotti! THE FLORENTINES 27 Bandinei,i,o {hurriedly) The hand, white toward the wrist, but large and plump And soft as velvet. Then the space between The forefinger and thumb must not show wrinkles. The pointed fingers that some prize so highly He does not like. Well, have I said enough ? Da TroTTi {indignantly) Should you leave out the best part of the ledlure — Stop where you should commence ? Cellini {irritatingly) He does — in art ! Bandinello {excitedly) I'll have you know, you boasting blusterer, That Bandinello does not see a rival In such a so-called artist as Cellini ! Cellini Thank God there are in Florence men who can Appreciate my work ! But Bandinello' s — Bah ! 'Tis good wine {drinks); I must not spoil the flavor. 28 THE FI.ORENTINES PoNTORMO (^quickly') Come, come, we are all friends ! No feeling here ! I^et Florence judge now, and Posterity When we are — ^where we shall be. \All laugh. Drink— to Art ! CEIvLINI The only mistress really worth the loving ! Battista The Goddess who has made our Florence — Flor- ence ! Da Trotti {hand on heart) The means whereby the Beauty that I love May some day show her face to others. Drink ! [All drink. ToREi'ERiQK goes out 07ie door , and, returni7ig by another, I'eappears in rear of studio. — And to the gracious Eady Eeonora ! 8o THE FLORENTINES Marsilio (^significantly) You then remain my true and loyal friend ? CieivIriNi {laughing) I promise you the lady will not come To this my workshop — no, my studio ! Marsilio (Jrom door) We start before the break of day. Farewell ! Good luck with your Andromeda ! Cellini (warmly, as 'M.A.'RSihio goes) Success ! [Exit Marsilio. Cellini (t/iougktfully, earnestly, as he tur7is from the door) I wish I were the father of Marsilio ! He would have been an artist ! Not like me, A mere pretender, boasting of the future That soon will be the past, with nothing done To rank my name with Michael Angelo's ! I would have taught him all that I have learned! The flame that dimly shines in me, in him, Fed by a purer and a loftier spirit. THE FLORENTINES 8i Might have created some immortal thing ! I could have done it had I kept my vision Above the gross and earthly beautiful ! There is a passion that exalts the soul, And there are passions, too, that quench its light— You are of earth, Cellini ! Why aspire ? Laugh with the wanton, turn your skill to gold, Spend it with friends and mock your enemies — And Florencec ries : ' ' Cellini, drink with us ! " — While Michael Angelo sculpts for the future ! Oh, for the faith, the trust, th' impassioned thought Of that young boy ! And who am I that craves it ? The foul-fed client of a sorry patron. Sporting the colors of despised indulgence, While Angelo seeks God beyond the skies ! O Heaven ! something in me says I too May yet do work worth doing, not these trifles ! {Inspirationally) Too late ! Too late ! No ! It is not too late ! Back there in France, is not my Jupiter At Fontainebleu ? Do I not see in air 82 THE FLORENTINES This very instant that Andromeda Whose beauty fired the soul of Perseus ? It is not meant that I must die a goldsmith ! Andromeda ! There is your work, Cellini ! lyet nothing stand between ! And nothing shall ! [He starts tip vigorously . Federiga watches closely as he grasps a tool, only to throw it dow7i in disgust. A miserable piece of work ! I must Have better model. Did I give a promise ? I'll keep it to its letter, but no more. Marsilio would never know the difference. In any case, I do not ask her here. There at the palace is the arm I need — Yes, and the form divine ! I'll go at once ! [Cei.i,ini rushes out. Federiga An arm, a form divine ! Whom has he found ? I thought there was another ! Who is she ? ' ' There at the Palace ! ' ' Riccio will know — That fool ! [Enter RiCCiO, i,. 2. E. THE FLORENTINES 83 Riccio Ah, lovely Federiga ! What Has happened? See, your cheeks are like two roses, Your eyes like sparkling gems. Your brow — Federiga {tartly) You are all words ! Riccio You wrong me, Federiga ! Reward me with a kiss. Is this not beautiful ? [Showing her a bracelet. Federiga A kiss for that! Twice dear at twenty soldi ! All gilt — an imitation. Fool me ! Humph J Riccio You scorn my gift? Well, there are other girls In Florence for Francesco Riccio To kiss without the giving of a present. Some day this braggadocio, Cellini, Will change his humor and show you the door. Federiga As I show it to you. No; what's the use? 84 THE FLORENTINES You're a tiresome fool. 'Tis not your fault. Nature made you one. You may give it to me. [^Takes the bracelet. The kiss ! Some day, perhaps. Not now. Be- ware! Cellini says you are a noisy idiot. He may return and thrash you. Riccio. Devil take him ! Aye! he will take him, and that very soon. Federiga What do you mean ? Riccio First answer, do you love him ? Federiga Love him! No, the villain! Even now He talks of a new model at the Palace ! Fool tho' you be, you're right. He's thro' with me. Riccio A model at the Palace ? Can it be This rascal thinks of Lady Leonora ? THE FLORENTINES 85 Federiga Of whom ? He surely does not think of her ! Riccio Whom else ? There is no other there who can Compare with you, my angel Federiga ! Federiga You have more sense, Francesco, than I thought. Suppose I go with you. What kind of treat- ment Shall I receive ? Riccio I'll beg and steal for you! \_Some one is heard approaching. Federiga His step! Go quickly! He's coming! Go ! [Rushing to window, 1,. 3. Exit Riccio, hurriedly, x,. 2. E. They do not meet. Good luck for Riccio ! [Enter Cellini, l. 2. e. Cellini {excitedly) I must be crazy, hurrying at this hour To pester Cosimo. I need a rest. 86 THE FLORENTINES ( To Federiga) What are you doing here ? I bade you go. Federiga You did not mean that I should stay away ? CEI.I.INI Make no mistake in that. I'm done with you. Federiga You're done with me ! Do you mean done for good With me! You said that you would make me famous! Cellini Is it my fault ? How can I make you great ? Impossible! Go you to Bandinello. You're fit to be his model. Say Cellini Presents you, with his compliments. Federiga Cellini! Do not forget that Federiga, who Has a poor arm — bad figure! — has a heart! And hearts can hate, sometimes, where they have loved. THE FIvORENTlNES 87 CE1.LINI Well, don't go hungr3\ Eat before you go. As for mj^self , I need an hour of sleep. Let no one trouble me. Go when you're through ! [Celi^ini enters rear room. Federiga So I may eat before I go! And this Is all the pay that Federiga gets For being slave and model to Cellini ! Am I a dog, that he should bid me go ? And where ? To Bandinello ! To his rival ! \An idea strikes her. To Riccio! When I have loved Cellini ! \Shakijig fist at rear room. The devil with all men! I hate you! hate you ! If I could kill you ! Marry Riccio When I have been his model ! Federiga, Don't be a fool ! That Riccio has money. \She perceives a ring on the table and g7'asps it. And so has Federiga! 'Tis the stone THE FLORENTINES The Duke means for the Pope ! How beautiful ! I wonder what it's worth. I'll go away, Far off, where no one knows, and there I'll sell it! What will they do to him ? You would beat me' Tell me you're done with me, and take The lady at the Palace in my stead! [Enter Marsilio, l. 2, e. She hides ring in her dress and hoks confused. Marsiwo Where's Benvenuto ? Federiga {nervously) You must not disturb him ; He is asleep, and must not be awakened By any one, he said, Marsilio {producing a letter from his cloak) It is as well. When he awakes, tell him that I desire This note be given Lady Leonora, And that for this new favor once again I stand the debtor to his loyal friendship. THE FLORENTINES 89 Oh, yes. And add that I may be away Some fifty days, altho' it may be less. Federiga The Lady Leonora! Oh, tell me, Messer Marsilio, is she the one Who takes my place ? Marsilio Who takes your place ! What mean you ? Federiga He told me I must go. He says that I Shall pose no more for his Andromeda. He thinks out loud, and I just heard him say A Palace lady has the arm and figure He needs, and you would never know about it. Marsilio Is't possible? Can he plan in my absence To win consent ? By Heaven ! he answers me Before I go — Federiga {frightened) He must not be awakened, Messer Marsilio! Believe me not. I spoke in spite because he bade me go. 90 THE FLORENTINES MARSIIvIO Yet how know you — [Enter a soldier, I,. 2. B. Soldier Messer Marsilio, Five hundred men, by order of the Duke, Wait your commands. His Excellency said We would start out ere Florence wakes and notes The fa<5l of our departure. MARSIIvIO I must go ! [To Federiga, handing her a letter. Give it to him, and say Marsilio, His friend, trusts all to friendship ! ( To Soldier) Come ! [Exit Marsilio «waf Soldier, l. 2. e. Federiga (^shaking her fist at rear room) He loves her ! You are back at your old tricks. Before me there were others, after me — You go to prison ! Done with Federiga ! [ Takes ring from her bosom. And I have here perhaps five thousand ducats ! What noise is that ? I must see Riccio, THE FLORENTINES 91 And find a place to hide myself from him \Looks out of the whiiow. Until I can leave Florence. The Bargello ! Come for Cellini ! Ah, this gives me time ! \She rushes out of the room. A great noise and C07ifus707i at outer door. Cellini enters workshop from rear room, sword in hand. Cellini (^angrily') What in the devil's name ! Here ! Federiga ! Didn't I say — where is that girl ? Oh, yes, She's gone ! And now I need her ! Benvenuto, You were a fool to lose that girl ! Well, who Are you that thunders ! Come in. You've been drinking ! [ Opens door. Bargello a 7id reti7iue enter, L. 2. E. Ha, the Bargello ! Bargello You must come, Cellini. Make no resistance. I have twenty here. 92 THE FI.ORENTINES Cei