"The spirit of Michel Angelo is seen mostly by night, in woods or groves.
The good man appears as he did in life, _come era prima_, ever walking
among trees singing poetry. He amuses himself very much by teasing
lovers--_a dare noia agli amoretti_--and when he finds a pair who have
hidden themselves under leaves and boughs to make love, he waits till
they think they are well concealed, and then begins to sing. And the two
feel a spell upon them when they hear his voice, and can neither advance
nor retreat.
"Then all at once opening the leafy covert, he bursts into a peal of
laughter; and the charm being broken, they fly in fear, because they
think they are discovered, and it is all nothing but the spirit of Michel
Angelo Buonarotti.
"When some lady-artist goes to sketch or paint, be it _al piazzale_, in
open places, or among the woods, it is his delight to get behind, and
cause her to blunder, scrawl, and daub (_fare degli scarabocchi_). And
when the artist is angered, she will hear a loud peal of laughter; and if
this irritates her still more, she will hear a song, and yet not perceive
the singer. And when at last in alarm she catches up her sketch, all
scrawled and spoiled, and takes to flight, she will hear the song
following her, and yet if she turns her head she will see no one
pursuing. The voice and melody are always beautiful. But it is
marvellously lucky to have this happen to an artist, for when she gets
home and looks at her sketch, she finds that it is neither scrawled nor
daubed, but most exquisitely executed in the style of Michel Angelo."
* * * * *
It is marvellous how the teasing faun or Silvanus of the Romans has
survived in Tuscany. I have found him in many forms, under many names,
and this is the last. But why it should be Michel Angelo, I cannot
imagine, unless it be that his face and stump nose, so familiar to the
people, are indeed like that of the faun. The _dii sylvestres_, with all
their endless mischief, riotry, and revelry, were good fellows, and the
concluding and rather startling touch that the great artist in the end
always bestows a valuable picture on his victim is really godlike--in a
small way.
It is remarkable as a coincidence, that Michel Angelo was himself during
life terribly annoyed and disturbed by people prying and speering about
him while painting--especially by Pope Leo--for whom he nevertheless
painted very good pictures. It would almost seem as if there were an
echo of the event in the legend. Legend is the echo of history.
"This legend," remarks Flaxius, "may give a valuable hint to collectors.
Many people are aware that there are in existence great numbers of
sketchings and etchings attributed to Michel Angelo, Durer, Raphael, Marc
Antonio, and many more, which were certainly executed long since those
brothers of the paint or pencil passed away. May it not be that the
departed still carry on their ancient callings by the aid of new and
marvellous processes to us as yet unknown, or by what may be called
'pneumato-gravure'? Who knows?--'tis a great idea, my masters;--let us
pass on or _legit_ unto another legend!
"'Well I ween it may be true
That afar in fairyland
Great artists still pursue
That which in life they knew,
And practise still, with ever bettering hand,
Sculpture and painting, all that charm can bring,
While by them all departed poets sing.'"