Johann Ludwig Deinhardstein, translated by James Frederick Ferrier

“ Love thou would'st purchase—thou would'st purchase fame,
And painting's pleasures, shunning all its pains.
The rose thou wishest I thou shalt feel the thorn—
This is a bargain thou shalt long remember.
Scene V.—Salvator, Ravienna, (bringing in a picture.)
⁠Rav. I've brought my picture.
⁠Sal. ⁠Prithee set it down—
In a few moments I'll attend to it.
⁠Rav. Here, on the easel?
⁠Sal. ⁠Set it where you please—
And now, Bernardo, tell me what you know
Of this old fool Calmari.
⁠Rav. ⁠Ah! he is
A dragon watching an enchanted garden—
Laura his ward's the fairest thing that lives. ”

“ Dancing, and books—those roses where snakes nestle—
These in my house shall be forbidden things.
No friend, no confidant shall gain her ear,
And she shall never stir a step without me.
Methinks that thus 'twill be impossible
For her to play me false.
⁠Sal. (casting a glance towards Ravienna.) Ay! ay! old friend,
You are the man to keep gallants at bay;
But your young wife—what will she say to this?
⁠Cal. I care not what she says—she cost me dear,
And such a precious purchase must be lodged
Safe under lock and key..
⁠Sal, (perceiving a sealed note in Calmari's hand.) ”

“ And conquers shyness: I then learn from her
How every day her guardian brings her here
At the same hour, while he recieves his guests,
Anxious to keep her hid from all men's eyes.
Only conceive! the hoary miscreant
Pesters her daily with a dotard's love.
But she loves me if there is truth in heaven,
Although I dare not hope to call her mine.
⁠Sal. You love her much, you say?
⁠Rav. ⁠Unspeakably!
⁠Sal. So it appears; for all absorb'd in her,
You have forgot the work which brought you here,
And the high art of painting, which in your
Eyes was the holiest of holy things. ”

“ Some one is coming.
⁠Rav. ⁠Laura! oh, my Laura!
Let me away!
⁠Sal. (pushing him back into the niche.) Keep still, or all is lost.
Scene VI.—Ravienna (in the niche.) Salvator. Calmari enters
⁠Sal. (to Calmari.) Your brows are itching for the laurel—eh?
⁠Cal. Dear Rosa! I am steep'd in happiness—
This very day—
⁠Sal. You shall not soon forget it,
That is most certain.
⁠Cal. ⁠I shall not, indeed—
It is a most momentous day for me.
If all goes well, this day shall see me crown'd
At once with love and honour.
⁠Sal. ⁠Have a care—
They say that "easy won is easy lost;" ”

“ Damnation!—Cimabue with the torn
Beard was Bernardo!
(To Bernardo in a voice of entreaty,) Pray, oh, pray withdraw!
The people are already seeking you,
And if they find you here in this disguise,
I shall be thrice befool'd. (He motions him towards the door of his own house.
⁠Sal. ⁠Stir not one step—
Leave me alone to manage this affair.
SCENE XII.—SALVATOR. CALMARI. RAVIENNA. LAURA Secretary enters, followed by several painters and spectators.
⁠SEC. (with a wreath of laurel in his hand.) Where is the painter?
⁠Sal. (presenting him Ravienna, who has laid aside his beard.) ”

“ Scene III.—Salvator. Calmari.
⁠Cal. You are acquainted, then, with this Ravienna?
⁠Salv. You heard him say he was my surgeon.
⁠Cal. ⁠Oh!
Merely Your surgeon. Let me speak a word
To you in confidence: he is a fellow
Full of impertinence: he worms himself
Into folks' houses, and do what we will,
We cannot keep him out.
⁠Salv. (cutting him short, and pointing to a seat.) Be seated, sir.
Now, pray, what special mission brings you here?
Is it to buy a picture you are come?
⁠Cal. In part it is.
⁠Sal. ⁠In part! part of a picture! ”

“ When the arbiters are met—and when they cry,
"Picture of Danäe gains prize the first—
Who is the painter?" When the secretary
Opens the seal'd note I shall give him—when
Calmari's name resounds from every lip—
What human transports then shall equal mine?
Then comes the laurel—the five hundred crowns—
My ward to be my wife! My brain grows dizzy,
I'll think of it no more—the joy' s too great.
(He listens to the noise of the people outside the Hall.) ”

“ That I am the painter of a certain picture.
This little token, like a magic spell,
Shall bear me into Laura's bridal chamber,
And into glory's temple.
⁠Sal. ⁠Should it not
Have been given in ere now?
⁠Cal. ⁠Far better not.
Look ye, Salvator! a wise man should be
Forearm'd 'gainst all contingencies. Suppose
Your picture should not gain the highest prize,
(I grant the case is scarcely possible,
But let it be supposed.) —In that case, then,
Our bargain's cancell'd; you get back your picture,
And I my crowns, and no man is the wiser. ”

“ Weigh well the lives of those men you admire—
Guido, Leonardo, the two Allegri,
Raphael himself, or me, (if I may dare
To name myself with these illustrious men) —
Regard us well, and say, what are we all
But baffled swimmers, in a stormy flood,
Towards a goal that never may be reach'd? ”

“ Shall I survive this night!
⁠Sal. ⁠Now go (Ravienna retires into the side chamber.)
Scene VI.
Salvator, (contemplating his own painting.) Ah, my good picture! but your chance is gone.
No prize for you, if this fair Danäe
Comes into competition; and it shall.
Artists of Florence!—it shall far outshine
Your misty daubs, and lessen your conceit.— (Gazing on the picture of Danäe.)
'Tis wonderful! this surgeon beats us all.
But let me think how I may best promote
His love affair with Laura. The old man
Is keen and selfish.— 'twill be difficult. ”

“ Art is of higher worth than love, my friend!— (Exeunt.)
Second Act
Antechamber of the Hall of the Painting Academy. In the middle is a large curtain screening the body of the Hall. In the foreground on the right, is a door leading into the house of the Director. In the walls are two niches, each of which is covered by a curtain: above the niche on the right is inscribed the name of Cimabue, above that on the left the name of Leonardo da Vinci.
Scene I.—Laura. Ravienna, (in the attire of the ancient painter Cimabue, but without the beard.) ”

“ Is it, my brother, eh? you don't dislike it.
A heavy purse—nay, never look so savage;
Gold has the power of magic—entre nous,
There's nothing in the world gold cannot buy.
⁠Sal. Some people may be sold as well as bought.
My friend, 'twas not your gold that tempted me;
Your singular proposal took my fancy,
And I assented—and now let me say,
As truly as that painting is my work,
So truly, sir, are you an honest man.
Scene VII.—Ravienna, (in the niche.) Salvator. Calmari.The Secretary of the Academy, (entering through the curtain which screens the Hall.) ”

“ Assembled in the hall, that I intend
To give a feast to-day.
⁠Sec. (in astonishment.) A feast, director!
⁠Cal. Yes, sir—to-day I mean to give my ward
In marriage to the painter who shall gain
The highest prize. You understand?
⁠Sec. ⁠I do.
I will inform them of your kind intentions.
⁠Cal. Now leave us—I will follow.— (Exit.)
Scene VIII.—Ravienna, (in the niche.) Salvator. Calmari. ”