The Atlantic Monthly, Volume 09, No. 52, February, 1862. Various
voices.
"Oh, he will not be disturbed!" said Father Angelo. "Since these affairs, he hath been in prayer in the chapter-room before the blessed Angelico's picture of the Cross. When we would talk with him of these things, he waves us away, and says only, 'I am weary; go and tell Jesus.'"
"He bade me come to him after supper," said Father Antonio. "I will talk with him."
"Do so,—that is right," said two or three eager voices, as the monk and Agostino, having finished their repast, arose to be conducted to the presence of the father.
CHAPTER XXI
They found him in a large and dimly lighted apartment, sitting absorbed in pensive contemplation before a picture of the Crucifixion by Frà Angelico, which, whatever might be its naïve faults of drawing and perspective, had an intense earnestness of feeling, and, though faded and dimmed by the lapse of centuries, still stirs in some faint wise even the practised dilettanti of our day.
The face upon the cross, with its majestic patience, seemed to shed a blessing down on the company of saints of all ages who were grouped by their representative men at the foot. Saint Dominic, Saint Ambrose, Saint Augustin, Saint Jerome, Saint Francis, and Saint Benedict were depicted as standing before the Great Sacrifice in company with the Twelve Apostles, the two Maries, and the fainting mother of Jesus,—thus expressing the unity of the Church Universal in that great victory of sorrow and glory. The painting was inclosed above by a semicircular bordering composed of medallion heads of the Prophets, and below was a similar medallion border of the principal saints and worthies of the Dominican order. In our day such pictures are visited by tourists with red guide-books in their hands, who survey them in the intervals of careless conversation; but they were painted by the simple artist on his knees, weeping and praying as he worked, and the sight of them was accepted by like simple-hearted Christians as a perpetual sacrament of the eye, by which they received Christ into their souls.
So absorbed was the father in the contemplation of this picture, that he did not hear the approaching footsteps of the knight and monk. When at last they came so near as almost to touch him, he suddenly looked up, and it became apparent that his eyes were full of tears.
He rose, and, pointing with a mute gesture toward the painting, said,—
"There is more in that than in all Michel Angelo Buonarotti hath done yet, though he be a God-fearing youth,—more than in all the heathen marbles in Lorenzo's gardens. But sit down with me here. I have to come here often, where I can refresh my courage."
The monk and knight seated themselves, the latter with his attention riveted on the remarkable man before him. The head and face of Savonarola are familiar to us by many paintings and medallions, which, however, fail to impart what must have been that effect of his personal presence which so drew all hearts to him in his day. The knight saw a man of middle age, of elastic, well-knit figure, and a flexibility and grace of motion which seemed to make every nerve, even to his finger-ends, vital with the expression of his soul. The close-shaven crown and the plain white Dominican robe gave a severe and statuesque simplicity to the lines of his figure. His head and face, like those of most of the men of genius whom modern Italy has produced, were so strongly cast in the antique mould as to leave no doubt of the identity of modern Italian blood with that of the great men of ancient Italy. His low, broad forehead, prominent Roman nose, well-cut, yet fully outlined lips, and strong, finely moulded jaw and chin, all spoke the old Roman vigor and energy, while the flexible delicacy of all the muscles of his face and figure gave an inexpressible fascination to his appearance. Every emotion and changing thought seemed to flutter and tremble over his countenance as the shadow of leaves over sunny water. His eye had a wonderful dilating power, and when he was excited seemed to shower sparks; and his voice possessed a surprising scale of delicate and melodious inflections, which could take him in a moment through the whole range of human feeling, whether playful and tender or denunciatory and terrible. Yet, when in repose among his friends, there was an almost childlike simplicity and artlessness of manner, which drew the heart by an irresistible attraction. At this moment it was easy to see by his pale cheek and the furrowed lines of his face that he had been passing through severe struggles; but his mind seemed stayed on some invisible centre, in a solemn and mournful calm.
"Come, tell me something of the good works of the Lord in our Italy, brother," he said, with a smile which was almost playful in its brightness. "You have been through all the lowly places of the land, carrying our Lord's bread to the poor, and repairing and beautifying shrines and altars by the noble gift that is in you."
"Yes, father," said the monk; "and I have found that there are many sheep of the Lord that feed quietly among the mountains of Italy, and love nothing so much as to hear of the dear Shepherd who laid down His life for them."
"Even so, even so," said the Superior, with animation; "and it is the thought of these sweet hearts that comforts me when my soul is among lions. The foundation standeth sure,—the Lord knoweth them that are His."
"And it is good and encouraging," said Father Antonio, "to see the zeal of the poor, who will give their last penny for the altar of the Lord, and who flock so to hear the word and take the sacraments. I have had precious seasons of preaching and confessing, and have worked in blessedness many days restoring and beautifying the holy pictures and statues whereby these little ones have been comforted. What with the wranglings of princes and the factions and disturbances in our poor Italy, there be many who suffer in want and loss of all things, so that no refuge remains to them but the altars of our Jesus, and none cares for them but He."
"Brother," said the Superior, "there be thousands of flowers fairer than man ever saw that grow up in waste places and in deep dells and shades of mountains; but God bears each one in His heart, and delighteth Himself in silence with them: and so doth He with these poor, simple, unknown souls. The True Church is not a flaunting queen who goes boldly forth among men displaying her beauties, but a veiled bride, a dove that is in the cleft of the rocks, whose voice is known only to the Beloved. Ah! when shall the great marriage-feast come, when all shall behold her glorified? I had hoped to see the day here in Italy: but now"–
The father stopped, and seemed to lapse into unconscious musing,—his large eye growing fixed and mysterious in its expression.
"The brothers have been telling me somewhat of the tribulations you have been through," said Father Antonio, who thought he saw a good opening to introduce the subject nearest his heart.
"No more of that!—no more!" said the Superior, turning away his head with an expression of pain and weariness; "rather let us look up. What think you, brother, are all these doing now?" he said, pointing to the saints in the picture. "They are all alive and well, and see clearly through our darkness." Then, rising up, he added, solemnly, "Whatever man may say or do, it is enough for me to feel that my dearest Lord and His blessed Mother and all the holy archangels, the martyrs and prophets and apostles, are with me. The end is coming."
"But, dearest father," said Antonio, "think you the Lord will suffer the wicked to prevail?"
"It may be for a time," said Savonarola. "As for me, I am in His hands only as an instrument. He is master of the forge and handles the hammer, and when He has done using it He casts it from Him. Thus He did with Jeremiah, whom He permitted to be stoned to death when his preaching mission was accomplished; and thus He may do with this hammer when He has done using it."
At this moment a monk rushed into the room with a face expressive of the utmost terror, and called out,—
"Father, what shall we do? The mob are surrounding the convent! Hark! hear them at the doors!"
In truth, a wild, confused roar of mingled shrieks, cries, and blows came in through the open door of the apartment; and the pattering sound of approaching footsteps was heard like showering raindrops along the cloisters.
"Here come Messer Nicolo de' Lapi, and Francesco Valori!" called out a voice.
The room was soon filled with a confused crowd, consisting of distinguished Florentine citizens, who had gained admittance through a secret passage, and the excited novices and monks.
"The streets outside the convent are packed close with men,"