The Merry-Hearted Buffalmacco

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Title:     The Merry-Hearted Buffalmacco
Author: Anatole France [More Titles by France]

(Translator: Alfred Allinson)

TO EUGÈNE MÜNTZ

 

_Buonamico di Cristofano detto Buffalmacco pittore Fiorentino, il qual fu discepolo d' Andrea Tafi, e come uomo burlevole celebrato da Messer Giovanni Boccaccio nel suo Decamerone, fu come si sa carissimo compagno di Bruno e di Calendrino pittori ancor essi faceti e piacevole, e, come si può vedere nell' opere sue sparse per tutta Toscana, di assai buon giudizio nell' arte sua del dipignere._

_(Vite de' più eccellenti pittori_, da Messer Giorgio Vasari.--"Vita di Buonamico Buffalmacco.")[1]

[Footnote 1: "Buonamico di Cristofano, known as Buffalmacco, a Florentine painter, the same that was pupil of Andrea Tafi, and celebrated as a burlesque character by Messer Giovanni Boccaccio in his _Decameron_ was as we know bosom friend of Bruno and Calendrino, also painters and of an even more witty and merry humour than himself, and as may be seen in his works scattered throughout Tuscany, of no mean judgement in his art of painting." _(Lives of the most Excellent Painters_ by Messer Giorgio Vasari.--"Life of Buonamico Buffalmacco.")]

I

THE COCKROACHES

In his callow youth, Buonamico Cristofani, Florentine, surnamed Buffalmacco by reason of his merry humour, served his apprenticeship in the workshop of Andrea Tafi, painter and worker-in-mosaic. Now the said Tafi was a very knowledgeable master. Sojourning at Venice in the days when Apollonius was covering the walls of San Marco with mosaics, he had discovered by means of a trick certain secrets the Greek craftsmen were for keeping sedulously to themselves. Returning to his native city, he won so high a repute in the art of composing pictures by arranging together a countless number of little differently coloured cubes of glass, he could not supply all the demands addressed to him for works of the sort, and all day and every day, from matins to vespers, he was busy, mounted on a scaffold in some Church or other, depicting the dead Christ, or Christ in His glory, the Patriarchs and Prophets, or the history of Job or of Noah. And as he was likewise keen to paint in fresco, with pounded colours, in the manner of the Greeks, which was then the only one known, he refused himself all rest, and gave his apprentices none either. He used to tell them:

"They who like myself are in possession of noble secrets and excel in their art should keep both mind and hand ceaselessly active to carry out their enterprises, so as to win much wealth and leave a long memory behind them. And if I, old and broken down as I am, spare myself no trouble, you are bound to do your utmost to help me with all your strength, which is fresh, hearty and undiminished."

And in order that his colours, his tesseræ of molten glass and his impastos might be all ready prepared by dawn of day, he forced the lads to rise in the middle of the night. Nothing could well be more hateful to Buffalmacco, who was in the habit of supping plentifully, and loved to run the streets at an hour when, as they say, all cats are grey. He went to bed late and slept sound, his conscience being clear enough after all. Accordingly, when Tafi's shrill voice woke him up out of his beauty sleep, he would only turn round on his pillow and pretend to be deaf. But his master invariably persisted, and at a pinch would go into the apprentice's room and very soon have the sheets dragged off the bed and a jug of cold water emptied over the sluggard's head.

Poor Buffalmacco, shivering and half dressed, would away grumbling, to grind the colours in the dark, cold workroom, cudgelling his wits the while, grinding and cursing all the time, to think of some way of escaping such harsh and humiliating treatment in future. Long he sought in vain; but his mind was an active one, and one morning early a happy thought struck him.

To put this in execution, Buffalmacco waited till his master was out of the way. Directly day broke, Andrea Tafi, as his habit was, pocketed the flask of Chianti and the three eggs that formed his regular breakfast, and bidding his pupils melt the glass tesseræ according to the directions, and take every possible pains, went off to work in the famous church of San Giovanni, a marvellously beautiful building, constructed with admirable art in the Classical manner. At the time he was executing on its walls a series of mosaics representing the Angels, Archangels, Cherubim and Seraphim, Powers, Thrones and Dominions; the chief acts of the Almighty, from the Creation of Light to the Deluge; the history of Joseph and his brethren, the history of Jesus Christ from the moment He was conceived in His Mother's womb till His Ascension into Heaven, and the life of St. John Baptist. Seeing the infinite pains he took to fix the pieces truly in the cement and arrange them artistically, he expected both profit and fame as the result of this great work and the host of figures it contained. Then, directly the master was gone, Buffalmacco hastened to make his preparations for the enterprise he was bent upon. He went down into the cellar, which, communicating as it did with a baker's next door, was full of cockroaches drawn thither by the smell of the sacks of flour. Everybody knows how cockroaches, or kitchen-beetles, swarm in bakeries, inns and corn-mills. These are a sort of crawling, stinking insects, with long, ungainly, shaggy legs and an ugly shell of a dirty yellow.[1]

During the Civil Wars that stained the Arbia red and fertilized the olive-yards with the blood of nobles, these loathsome insects had two names in Tuscany: the Florentines called them Siennese, and the Siennese Florentines.[2]

[Footnote 1: It would be better to speak of the wing-cases. "Shell" is an utterly unsuitable word--not in the least fitting. The Oriental cockroach is in question, an insect familiar in almost every part of Europe.]

[Footnote 2: In Russia they are termed Prussians, and in Prussia Russians. The French call them _cafards_ (canting creatures, hypocrites).]

The good Buffalmacco laughed to see the creatures all moving up and down and in and out, looking for all the world like tiny shields of a host of pigmy knights jousting in a fairy tourney.

"Ah, ah!" he cried to himself, "they are may-bugs bedevilled, that's what they are! They would not enjoy the springtime, and Jupiter punished them for their sluggishness. He has condemned them to crawl about in the dark, weighed down by their useless wings--an object-lesson to men to make the most of life in the heyday of youth and love."

This was what Buffalmacco said to himself; for he was ready enough, like other folk, to see in nature a symbol of his own passions and inclinations, which were to drink, to divert himself with pretty women and sleep his fill in a warm bed in winter and a nice cool one in summer.

However, he had not visited the cellar to ponder on symbols and emblems, and he was not long in carrying out his plan. He caught two dozen of the cockroaches, without regard to sex or age, and popped them in a bag he had brought with him for the purpose. This done, he proceeded to hide the bag under his bed, and returned to the workroom, where his comrades Bruno and Calendrino were painting, from the master's sketches, the good St. Francis receiving the stigmata, and meantime devising some way of hoodwinking Memmi the cobbler, whose wife was comely and obliging.

Buffalmacco, who was not less expert, far from it, than his two comrades, mounted the ladder and started painting the wings of the seraphic crucifix that came down from heaven to mark the Blessed Saint with the five wounds of love, taking the utmost pains to blend in the celestial pinions all the tenderest hues of the rainbow. The task occupied him all day, and when old Tafi came back from San Giovanni, he could not refrain from bestowing a few words of commendation on his pupil. This cost him no small effort, for age and riches had made him both cross and critical.

"My lads," he said, addressing the apprentices, "those wings are painted with a good deal of spirit. Buffalmacco might go far in the art of painting, if he would only apply himself more vigorously. But there, his mind is far too much set on self-indulgence; and great achievements can only be accomplished by steady labour. Now Calendrino here would beat you all, with his industry--if he were not a born fool."

In such fashion Andrea Tafi improved the occasion with a proper severity. Then, having said his say, he went to the kitchen to take his supper, which consisted of a bit of salt fish; after that he betook himself to his chamber, lay down in his bed, and was soon snoring. Meantime Buffalmacco made his usual round through every quarter of the city where wine was to be had cheap and girls cheaper still. This done, he got home again half an hour or so before the time Tafi generally woke. He drew out the bag from under his bed, took the cockroaches one by one, and by means of a short, sharp needle fastened a little wax taper on the back of each. Lighting the tapers, he let the insects loose, one after the other, in the room. The creatures are too stupid to feel pain, or if they do, to manifest any great panic. They set off crawling over the floor, at a pace which surprise and perhaps some vague terror made a trifle quicker than usual. Before long they started describing circles, not because it is, as Plato says, a perfect figure, but as a result of the instinct that always makes insects turn round and round, in their efforts to escape any unknown danger. Buffalmacco looked on from the vantage-ground of his bed, on which he had thrown himself, and congratulated himself on the success of his device. And indeed nothing could be more marvellous than these lights showing a miniature presentment of the harmony of the spheres, such as it is set out by Aristotle and his commentators. The cockroaches themselves were invisible; only the little flames they carried could be seen, which seemed to be all alive. Just as these same lights were weaving in the darkness of the room more cycles and epicycles than ever Ptolemy and the Arabs observed as they watched the motions of the planets, Tafi's voice made itself heard, shriller than ever, what with a cold in the head and what with annoyance.

"Buffalmacco! Buffalmacco, I say!" screamed the old fellow, coughing and spitting, "get up, I say! Get up, you scoundrel! In less than an hour's time, it will be broad daylight. The bugs in your bed must be built like very Venuses, you are so loath to leave 'em. Up, you sluggard! If you don't rise this instant, I'll drag you from between the sheets by the hair of your head and your long ears!"

These were the sort of terms in which the master would call his pupil out of bed in the dusk of every morning, such was his zeal for painting and mosaic-work. On this occasion receiving no reply, he drew on his hose, but without taking time to pull them any higher than his knees, and started for his apprentice's bedroom, stumbling at every step. This was exactly what Buffalmacco expected, and directly he heard the clatter of his master's footsteps on the stairs, he turned his nose to the wall and pretended to be fast asleep. And there was old Tafi shouting up the stairs:

"Hilloa! but you're a grand sleeper. I'll have you out of your slumbers, I will, though you should be dreaming this very moment that the eleven thousand virgins are slipping into your bed, begging you to teach 'em what's what."

With these words on his lips, Andrea Tafi shoved the door of the room violently open.

Then, catching sight of the points of fire running all over the floor, he stopped dead on the landing and fell a-trembling in every limb.

"They're devils," he thought, "never a doubt of it,--devils and evil spirits. Why! they move with a sort of mathematical precision, which is their strong point, I've always been told. Naturally the Demons hate us painters, who depict them under hideous shapes, in contrast with the Angels we represent in glory, an aureole about their brows and waving wings of dazzling splendour. The unhappy boy is beset with devils; I can count at least a thousand around his pallet. No doubt he has angered Lucifer himself, by drawing some horrible picture of him. 'Tis only too likely these ten thousand imps here will leap upon him and carry him off alive to Hell. His doom is fixed. And alack! I have myself figured, in mosaic and other ways, very odious caricatures of Devils, and they have good reason to bear me a grudge too."

The thought redoubled his fears, and hauling up his hose, he took to his heels, too much terrified to think of facing the hundred thousand hobgoblins he had seen wheeling round and round with bodies of fire, and dashed down the stairs as fast as ever his old legs would carry him. Buffalmacco had a fine laugh under the sheets, and for once in a way slept on till broad daylight. Nor did his master ever again dare to go and wake him.

II

THE ASCENDING UP OF ANDREA TAFI

Andrea Tafi, of Florence, being chosen to decorate the cupola of San Giovanni with mosaics, carried out the said work in the most perfect fashion. Every figure was treated in the Greek manner, which Tafi had learned during his sojourn at Venice, where he had seen workmen busy adorning the walls of San Marco. He had even brought back with him from that city a Greek by name Apollonius, who knew excellent secrets for designing in mosaic. This Apollonius was a skilful workman and a very clever man. He knew the proportions to be given to the different parts of the human body and the material for mixing the best cement.

Fearing the Greek might carry his knowledge and address to some other painter of the city, Andrea Tafi never left his side day or night Every morning he took him with him to San Giovanni, and brought him home every evening to his own house, facing San Michele, and made him sleep there with his two apprentices, Bruno and Buffalmacco, in a room separated merely by a partition from his own bed-chamber. And as this partition left half a foot between the top and the beams of the ceiling, whatever was said in one room could easily be overheard in the other.

Now Tafi was a man of decent manners and pious. He was not like some painters who, on leaving the Churches where they have been depicting God creating the world and the infant Jesus in his holy mother's arms, go straight to houses of ill fame to play dice and drink, play the pipes and cuddle the girls. He had never wished for better than his good wife, albeit she was by no means made and moulded by the Creator to afford any great delight to men; for she was a very dry and a very chilling personage. Then, after God had removed her from this world to a better, in his loving mercy, Andrea took no other woman to his bosom either by marriage or otherwise. On the contrary he was strictly continent, as became his years, sparing himself both expense and vexation, and pleasing God to boot, who recompenses in the next world the privations men endure in this. Andrea Tafi was chaste, sober and well-advised.

He said his prayers with unfailing regularity, and being got to bed, he never fell asleep without first invoking the Blessed Virgin in these words:

"Holy Virgin, Mother of God, which for Thy merits wast exalted alive to Heaven, stretch forth Thy hand full of grace and mercy to me, to lift me up to that blessed Paradise where Thou sittest on a chair of gold."

And this petition old Tafi did not mumble between the two or three teeth he had left, but spoke it out in a loud, strong voice, persuaded it is the singing, as they say, makes the song, and that if you want to be heard, it is best to shout. Thus it came about that Master Tafi's supplication was overheard every night by Apollonius the Greek and the two young Florentines who lay in the next chamber. Now it so happened Apollonius was likewise of a merry humour, every whit as ready for a jest as Bruno or Buffalmacco. All three itched sore to play off some trick on the old painter, who was a just man and a god-fearing, but hard-fisted withal and a cruel taskmaster. Accordingly one night, after listening to the old fellow's customary address to the Virgin, the three comrades fell a-laughing under the bed-clothes and cutting a hundred jokes. Presently, when they heard him snoring, they began asking each other in whispers what jape they could play off on him. Well knowing the holy terror the old man had of the Devil, Apollonius proposed to go, dressed in red, with horns and a mask, to drag him out of bed by the feet. But the ingenious Buffalmacco had a better suggestion to offer:

"To-morrow we will provide ourselves with a good stout rope and a pulley, and I undertake to give you the same evening a highly diverting exhibition."

Apollonius and Bruno were curious to know what the pulley and rope were to be used for, but Buffalmacco refused to say. Nevertheless they promised faithfully to get him what he wanted; for they knew him to possess the merriest wit in the world and the most fertile in amusing contrivances, having earned his nickname of Buffalmacco for these very qualities. And truly he knew some excellent turns, that have since become legendary.

The three friends, having nothing now to keep them awake, fell asleep under the moon, which looking in at the garret window, pointed the tip of one of her horns, as if in mockery, at old Tafi. They slept sound till daybreak, when the master began hammering on the partition, and called out, coughing and spitting as usual.

"Get up, master Apollonius! Up with you, apprentices! Day's come; Phœbus has blown out the sky candles! Quick's the word! 'Life is short, and art long.'"

Then he began threatening Bruno and Buffalmacco he would come and start them out with a bucket of cold water, jeering and asking them:

"Is your bed so delicious, eh? Have you got Helen of Troy there, you're so loath to quit the sheets?"

Meanwhile he was slipping on his hose and his old, worn hood. This done, he sallied out, to find the lads waiting on the landing, fully dressed and with their tools all ready.

That morning, in the fair Church of San Giovanni, on the planking that mounted to the cornice, the work went on merrily for a while. For the last week the master had been trying his hardest to give a good representation according to the recognized rules of art of the baptism of Jesus Christ. He had just begun putting in the fishes swimming in the Jordan. Apollonius was mixing the cement with bitumen and chopped straw, pronouncing words of might known only to himself; while Bruno and Buffalmacco were picking the little cubes of stone to be used, and Tafi arranging them according to the sketch he had made on a slab of slate he held in his hand. But just when the master was busiest over the job, the three friends sprang lightly down the ladder and slipped out of the Church. Bruno went off to the house of Calendrino, outside the walls, in search of a pulley that was used for hoisting corn into the granary. At the same time Apollonius hurried away to Ripoli to see an old lady, the wife of a Judge, whom he had promised to provide with a philtre to draw lovers to her side, and persuading her that hemp was indispensable for compounding the potion, got her to hand him over the well-rope, a good stout piece of cord.

The two friends next met at Tafi's house, where they found Buffalmacco awaiting them. The latter at once set to work to attach the pulley firmly to the king-post of the roof, above the partition separating the master's sleeping-room from his apprentices'. Then, after passing the old lady's well-rope through the pulley, he left one end hanging down in their own chamber, while he went into his master's apartment and fastened the bed to the other extremity, by each corner. He took good care the rope should be concealed behind the curtains, so that nothing out of the way might be visible. When all was done, the three companions went back to San Giovanni.

The old man, who had been so busily engaged as scarcely to have noticed their absence, addressed them with a beaming face:

"Look you," he said, "how those fish sparkle with divers colours, and particularly with gold, purple and blue, as creatures should which inhabit the ocean and the rivers, and which possess so marvellous a brilliancy of hues only because they were the first to submit to the empire of the goddess Venus, as is all explained in the legend."

Thus the master discoursed in a way full of grace and good sense. For you must know he was a man of wit and learning, albeit his humour was so saturnine and grasping, above all when his thoughts turned toward filthy lucre. He went on:

"Now is not a painter's trade a good one and deserving of all praise? it wins him riches in this world and happiness in the next. For be sure Our Lord Jesus Christ will welcome gratefully in His holy Paradise craftsmen like myself who have portrayed His veritable likeness."

And Andrea Tafi was glad at heart to be at work upon this great picture in mosaic, whereof several portions are yet visible at San Giovanni to this day. Presently when night came and effaced both form and colour in all the Church, he tore himself regretfully from the river Jordan and sought his house. He supped in the kitchen off a couple of tomatoes and a scrap of cheese, went upstairs to his room, undressed in the dark and got into bed.

No sooner was he laid down than he made his customary prayer to the Blessed Virgin:

"Holy Virgin, Mother of God, which for Thy merits wast exalted alive to Heaven, stretch forth Thy hand full of grace and mercy to me, to lift me up to Paradise!"

The moment was come which the three companions had been eagerly awaiting in the neighbouring room.

They grasped the rope's end that hung down the partition from the pulley, and scarcely had the good old fellow finished his supplication when at a sign from Buffalmacco they hauled so vigorously on the cord, that the bed fastened at the other end began to rise from the floor. Master Andrea, feeling himself being hoisted aloft, yet without seeing how, got it into his head it was the Blessed Virgin answering his prayer and drawing him up to Heaven. He was panic-stricken and fell a-screaming in a quavering voice:

"Stop, stop, sweet Lady! I never asked it should be now!"

And as the bed rose higher and higher, the rope working smoothly and noiselessly over the pulley, the old man poured out the most pitiful supplications to the Virgin Mary:

"Good Lady! sweet Lady! don't pull so! Ho, there! Let go, I say!" But she seemed not to hear a word. At this he grew furiously angry and bellowed:

"You must be deaf, you wooden-head! Let go, _bitch of a Madonna_!"

Seeing he was leaving the floor for good and all, his terror increased yet further; and, calling upon Jesus, he besought Him to make His holy Mother listen to reason. It was high time, he asseverated, she should give up this mischancy Assumption. Sinner that he was, and son of a sinner, he could not, and he would not, go up to Heaven before he'd finished the river Jordan, the waves and the fishes, and the rest of Our Blessed Lord's history. Meanwhile the canopy of the bed was all but touching the beams of the roofing, and Tafi was crying in desperation:

"Jesus, unless you stop your Blessed Mother this instant, the roof of my house, which cost a fine penny, will most certainly be burst up. For I see for sure I'm going slap through it. Stop! stop! I can hear the tiles cracking."

Buffalmacco perceived that by now his master's voice was actually strangling in his throat, and he ordered his companions to let go the rope. This they did, the result being that the bed, tumbling suddenly from roof to floor of the room, crashed down on the boards, breaking the legs and splitting the panels; simultaneously the bedposts toppled over and the canopy, curtains, hangings and all fell atop of Master Andrea, who, thinking he was going to be smothered, started howling like a devil incarnate. His very soul staggered under the shock, and he could not tell whether he was fallen back again into his chamber or pitched headlong into Hell.

At this point the three apprentices rushed in, as if just awakened by the noise. Seeing the ruins of the bed lying smothered in clouds of dust, they feigned intense surprise, and instead of going to the old man's help, asked him if it was the Devil had done the mischief. But he only sighed heavily, and said:

"It's all up with me; pull me out of this. I'm a dying man!"

At last they dragged him from among the débris, under which he was ready to suffocate, and placed him sitting up with his back to the wall. He breathed hard, coughed and spat, and:

"My lads," he said, "but for the timely succour of Our Lord Jesus Christ, who hurled me back to earth again with a violence you can plainly see the effects of, I should at this present moment be in the circle of Heaven named the crystalline or _primum mobile_. His holy Mother would not listen to a word. In my fall, I have lost three teeth, which, without being exactly sound, still did me good service. Moreover, I have an agonizing pain in my right side and in the arm that holds the brush."

"My master," said Apollonius pityingly, "you must have received some internal hurts, which is a very dangerous thing. At Constantinople, in the risings, I discovered how much more deadly such injuries are than mere external wounds. But never fear, I am going to charm away the mischief with spells."

"Not for worlds!" put in the old man; "that were a deadly sin. But come hither, all three, and do me the service, an you will, of rubbing me well in the worst places."

They did as he asked, and never left him till they had pretty well scarified every bit of skin off the old fellow's back and loins.

The good lads made it their first business to sow the story broadcast through the city. This they did to such good effect that there was not man, woman nor child in Florence could look Master Andrea Tafi in the face without bursting out laughing. Now one morning Buffalmacco was passing down the Corso, Messer Guido, the son of the Signor Cavalcanti, who was on his way to the marshes to shoot crane, stopped his horse, called the apprentice to him, and tossed him his purse with the words:

"Ho! gentle Buffalmacco, here's somewhat to drink to the health of Epicurus and his disciples."

You must know Messer Guido was of the sect of the Epicureans and loved to marshal well-arranged arguments against the existence of God. He was used to declare the death of men is precisely the same as that of beasts.

"Buffalmacco," added the young nobleman, "this purse I have given you is for payment of the very instructive, complete and profitable experiment you made, when you sent old Tafi to Heaven--who, seeing his carcass taking the road to the Empyrean, began to squeal like a pig being killed. This proves plainly he had no real assurance in the promised joys of Paradise--which are, it must be allowed, far from certain. In the same way as nurses tell children fairy-tales, vague things are talked concerning the immortality of mortal men. The vulgar herd thinks it believes these tales, but it does not really and truly. Hard fact comes and shivers the poets' fables. There is nothing assured but the sad life of this world. Horace, the Roman poet, is of my opinion when he says: _Serus in cælum redeas_."[1]

[Footnote 1: "_May it be long ere you return to heaven your home._"--Ode 2 of Book I, addressed to Augustus.]

III

THE MASTER

Having learned the art of preparing and using the proper coats and colours, as well as the secret of painting figures in the good manner of Cimabuë and Giotto, the young Buonamico Cristofani, the Florentine, surnamed Buffalmacco, abandoned the workshop of his master Andrea Tafi, and proceeded to establish himself in the quarter of the fullers, immediately opposite to the house known by the sign of the Goose's Head. Now in those days, like fair ladies outvying one another in wearing gowns broidered with flowers, the towns of Italy made it their pride to cover the walls of their Churches and Cloisters with paintings. Among all these, Florence was the most sumptuous and magnificent, and was the place of all others for a Painter to live in. Buffalmacco knew how to give his figures movement and expression; and, while far behind the divine Giotto for beauty of design, he pleased the eye by the gay exuberance of his inventions. So he was not long in getting commissions in considerable numbers. It only depended on himself to win riches and fame with all speed. But his chief idea was to amuse himself in company of Bruno di Giovanni and Nello, and squander along with them, in debauchery, all the money he made.

Now the Abbess of the Ladies of Faenza, established at Florence, determined about this time to have the Church of their Nunnery decorated with frescoes. Hearing that there lived in the quarter of the fullers and wool-carders a very clever painter named Buffalmacco, she despatched her Steward thither to come to an arrangement with him as to the execution of the proposed paintings. The master agreed to the terms offered and undertook the commission readily enough. He had a scaffolding erected in the Nunnery Church and on the still moist plaster began to paint, with wondrous vigour of execution, the history of Jesus Christ. First of all, to the right of the Altar, he illustrated the massacre of the Holy Innocents, and succeeded in expressing so vividly the grief and rage of the mothers trying vainly to save their little ones from the Roman soldiers' hands, that the very wall seemed to chant like the faithful in Church, "_Cur, Crudelis Herodes?..._" Drawn thither by curiosity, the Nuns used to come, two or three of them together, to watch the master at work. At sight of all these despairing mothers and murdered babes, they could not help sobbing and shedding tears. In particular there was one little fellow Buffalmacco had drawn lying in his swaddling bands, smiling and sucking his thumb, between a soldier's legs. The Nuns begged and prayed this one might not be killed:

"Oh! spare him," they said to the Painter. "Do take care the soldiers don't see him and kill him!"

The good Buffalmacco answered:

"For love of you, dear sisters, I will protect him all I can. But these murderers are filled with so savage a rage, it will be a difficult matter to stop them."

When they declared "The baby _is_ such a little darling!..." he offered to make each of them a little darling prettier still.

"Thank you kindly!" they answered back, laughing.

The Abbess came in her turn to assure herself with her own eyes that the work was being done satisfactorily. She was a lady of very high birth, named Usimbalda, a proud, severe and careful personage. Seeing a man working without cloak or hood, and like a common labourer wearing only shirt and hose, she mistook him for some apprentice lad and did not condescend so much as to speak to him. She came again and again, five or six times, to the Chapel, without ever seeing any one more important than this working fellow she deemed only fit to grind the colours. Out of all patience at last, she showed him she was far from satisfied.

"My lad," she bade him, "tell your master from me he must come and work himself at the pictures I commissioned him to paint. I meant them to be the work of his own hand, not a mere apprentice's."

Far from declaring himself, Buffalmacco put on the look and voice of a poor working-man, and humbly answered Usimbalda, that he saw plain enough he was not of the sort to inspire confidence in so noble a lady, and that his duty was to obey.

"I will inform my master," he went on; "and he will not fail to put himself at the orders of My Lady Abbess."

With this assurance, the Lady Usimbalda left the Church. No sooner was he alone than Buffalmacco arranged on the scaffolding, just at the spot where he was at work, two stools with a crock on the top. Then going to the corner where he had laid them, he pulled out his cloak and hat, which as it happened were in a very fair state of freshness, and put them on the lay figure he had improvised; next, he stuck a brush in the spout of the crock, which was turned towards the wall. This done, after assuring himself the thing had quite the look of a man busy painting, he decamped with all speed, determined to keep away till he had seen what happened.

Next day the Nuns paid their usual visit to the scene of action. But finding instead of the merry fellow they were accustomed to, a stately gentleman who held himself In the stiffest of attitudes and seemed entirely indisposed to laugh and talk, they were afraid and took to flight.

Madame Usimbalda on the contrary, when _she_ returned to the Church, was delighted to see the master at work in lieu of the apprentice.

She proceeded to give him much valuable advice, exhorting him for a good ten minutes to paint figures that should be modest, noble and expressive--before she discovered she was addressing her remarks to a crock.

She would hardly have found out her mistake even then, had she not grown impatient at receiving no reply, and pulling the master by his cloak, brought crock, stool, hat, brush and all tumbling at her feet. Then, as she was by no means wanting in sense, she saw it was intended as a lesson not to judge the artist by his dress. She sent her steward to Buffalmacco, and begged him to finish what he had begun.

He completed the work greatly to his credit. Connoisseurs especially admired in these frescoes the figure of the Crucified Redeemer, the three Marys weeping at the foot of the Cross, Judas hanged on a tree, and a man blowing his nose. Unfortunately the paintings were all destroyed along with the Church of the Nunnery of the Ladies of Faenza.

IV

THE PAINTER

Equally famous for his wit and humour and for his skill in devising figure subjects on the walls of Church and Cloister, Buonamico, surnamed Buffalmacco, had already left his youth behind when he was invited from Florence to Arezzo by the Lord Bishop of that city, who wished the halls of his Palace decorated with paintings. Buffalmacco undertook the commission, and directly the walls were duly laid with stucco, started on a picture of the Adoration of the Wise Men.

In the course of a few days he had painted in King Melchior complete, mounted on a white horse, looking for all the world as if he were alive. His horse's saddle-cloth was scarlet, dotted with precious stones.

Now all the time he was at work, the Bishop's pet monkey sat staring intently at his proceedings, never taking his eyes off him. Whether the painter was squeezing his tubes, mixing his colours, beating up his eggs or laying on the colour with his brush on the moist surface, the creature never lost one of his movements. It was a baboon brought from Barbary for the Doge of Venice in one of the State Galleys. The Doge made a present of it to the Bishop of Arezzo, who thanked his Magnificence, reminding him prettily how King Solomon's ships had in like fashion imported from the land of Ophir apes and peacocks, as is related in the First Book of Kings (x. 22). And there was nothing in all his Palace Bishop Guido held more precious than this baboon.

He left the animal to roam at liberty about the halls and gardens, where it was for ever at some mischievous trick or another. One Sunday, during the painter's absence, the creature climbed up on the scaffolding, laid hold of the tubes, mixed up the colours in a way of its own, broke all the eggs it could find, and began plying the brush on the wall, as it had seen the other do. It worked away at King Melchior and his horse, never leaving off till the whole composition was repainted according to its own ideas.

Next morning Buffalmacco, finding his colours all topsy-turvy and his work spoiled, was both grieved and angry. He was persuaded some painter of Arezzo, who was jealous of his superior skill, had played him this dirty trick, and went straight to the Bishop to complain. The latter urged him to set to work again and repair with all speed what had been ruined in a manner so mysterious. He undertook that for the future two soldiers should keep guard night and day before the frescoes, with orders to drive their lances through any one who should dare to come near. On this condition, Buffalmacco agreed to resume his task, and two soldiers were put on sentry close at hand. One evening, just as he was leaving the hall, his day's work finished, the soldiers saw the Lord Bishop's ape spring so nimbly into his place on the scaffold and seize the colour-tubes and brushes with such rapidity there was no possibility of stopping him. They shouted lustily to the painter, who came back just in time to see the baboon paint over for the second time King Melchior, the white horse and the scarlet saddle-cloth. The sight was like to move poor Buffalmacco at one and the same time to laughter and tears.

He went off to the Bishop and thus addressed him:

"My Lord Bishop, you are good enough to admire my style of painting; but your baboon prefers a different. What need to have had me summoned here, when you had a master painter in your own household? It may be he lacked experience. But now he has nothing left to learn, my presence here is quite unnecessary, and I will back to Florence."

Having so said, the good Buffalmacco returned to his inn, in great vexation. He ate his supper without appetite and went to bed in a very dismal frame of mind.

Then the Lord Bishop's ape appeared to him in a dream, not a mere mannikin as he was in reality, but as tall as Monte San Gemignano, cocking up a prodigious tail and tickling the moon. He was squatted in an olive wood among the farms and oil-presses, while betwixt his legs a narrow road ran alongside a row of flourishing vineyards. Now the said road was thronged with a multitude of pilgrims, who defiled one by one before the painter's eyes. And lo! Buffalmacco recognized the countless victims of his practical jokes and merry humour generally.

He saw, to begin with, his old master Andrea Tafi, who had taught him how men win renown by practice of the arts, and whom in return he had befooled again and again, making him mistake for devils of hell a dozen wax tapers pinned on the backs of a lot of great cockroaches, and hoisting him in his bed to the joists of the ceiling, so that the poor old fellow thought he was being carried up to heaven and was in mortal terror.

He saw the wool-carder of the _Gooses Head_, and his wife, that notable woman, at the spinning-wheel. Into this good dame's cooking-pot Buffalmacco had been wont every evening to throw big handfuls of salt through a crack in the wall, so that day after day the wool-carder would spit out his porridge and beat his wife.

He saw Master Simon de Villa, the Bolognese physician, to be known by his Doctor's cap, the same he had pitched into the cesspool beside the Convent of the Nuns of Ripoli. The Doctor ruined his best velvet gown, but nobody pitied him, for regardless of his good wife's claims, a plain woman but a Christian, he had longed to bed with Prester John's Chinchimura, who wears horns betwixt her sinful buttocks. Good Buffalmacco had persuaded the Doctor he could take him o' nights to the Witches' Sabbath, where he went himself with a merry company to make love to the Queen of France, who gave him wine and spices for his doughty deeds. Simon accepted the invitation, hoping he should be treated right royally too. Then Buffalmacco having donned a beast's skin and a horned mask such as they wear at merry-makings, came to Master Simon, declaring he was a devil ordered to conduct him to the Sabbath. Taking him on his shoulders, he carried him to the edge of a pit full of filth, where he pitched him in head first.

Next Buffalmacco saw Calendrino, whom he had got to believe that the stone Heliotropia was to be found in the plain of the Mugnone, which stone possesses the virtue of rendering invisible whosoever bears it about his person. He took him to Mugnone along with Bruno da Giovanni, and when Calendrino had picked up a very large number of stones, Buffalmacco suddenly pretended he could not see him, crying out: "The scamp has given us the slip; an I catch him, I'll bang his behind with this paving-stone!" And he landed the stone exactly where he said he would, without Calendrino having any right to complain, because he was invisible. This same Calendrino was without any sense of humour, and Buffalmacco played on his simplicity so far as to make him actually believe he was with child, and got a brace of fat capons out of him as fee for his safe delivery.

Next Buffalmacco saw the countryman for whom he had painted the Blessed Virgin with the Infant Jesus in her arms, afterwards changing the babe into a bear's cub.

He saw moreover the Abbess of the Nuns of Faenza, who had commissioned him to paint the walls of the Convent Church in fresco, and he told her on his oath and honour you must mix good wine with the colours, if the flesh tints are to be really brilliant. So the Abbess gave him for every Saint, male or female, depicted in his pictures a flask of the wine reserved for Bishops' drinking, which he poured down his throat, trusting to vermilion to bring out the warm tints. The same Lady Abbess it was he deceived, making her take a pitcher with a cloak thrown over it for a master painter, as has been already recounted.

Buffalmacco saw, besides, a long line of other folks he had befooled, cajoled, cozened and bemocked. Closing the rear, marched with crozier, mitre and cope, the great Sant' Ercolano, whom in a merry mood he had represented in the Great Square of Perugia, girt about with a garland of gudgeons.

All as they passed paid their compliment to the ape which had avenged them; and the monster, opening a great mouth wider than the jaws of hell, broke into a mocking laugh.

For the first time in his life Buffalmacco had a downright bad night's rest.

[The end]
Anatole France's short story: The Merry-Hearted Buffalmacco

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