The White Company

"Ho, ho!" cried he with a high crowing laugh, "it is not the head upon my shoulders that I think of. Cospetto! no. It is the head under my arm which you have preserved."

"Perhaps the signori would deign to come under our roof, father," said the maiden. "If we bide here, who knows that some fresh tumult may not break out."

"Well said, Tita! Well said, my girl! I pray you, sirs, to honor my unworthy roof so far. A light, Giacomo! There are five steps up. Now two more. So! Here we are at last in safety. Corpo di Baccho! I would not have given ten maravedi for my head when those children of the devil were pushing us against the wall. Tita mia, you have been a brave girl, and it was better that you should be pulled and pushed than that my head should be broken."

"Yes indeed, father," said she earnestly.

"But those English! Ach! Take a Goth, a Hun, and a Vandal, mix them together and add a Barbary rover; then take this creature and make him drunk – and you have an Englishman. My God I were ever such people upon earth! What place is free from them? I hear that they swarm in Italy even as they swarm here. Everywhere you will find them, except in heaven."

"Dear father," cried Tita, still supporting the angry old man, as he limped up the curved oaken stair. "You must not forget that these good signori who have preserved us are also English."

"Ah, yes. My pardon, sirs! Come into my rooms here. There are some who might find some pleasure in these paintings, but I learn the art of war is the only art which is held in honor in your island."

The low-roofed, oak-panelled room into which he conducted them was brilliantly lit by four scented oil lamps. Against the walls, upon the table, on the floor, and in every part of the chamber were great sheets of glass painted in the most brilliant colors. Ford and Edricson gazed around them in amazement, for never had they seen such magnificent works of art.

"You like them then," the lame artist cried, in answer to the look of pleasure and of surprise in their faces. "There are then some of you who have a taste for such trifling."

"I could not have believed it," exclaimed Alleyne. "What color! What outlines! See to this martyrdom of the holy Stephen, Ford. Could you not yourself pick up one of these stones which lie to the hand of the wicked murtherers?"

"And see this stag, Alleyne, with the cross betwixt its horns. By my faith! I have never seen a better one at the Forest of Bere."

"And the green of this grass – how bright and clear! Why all the painting that I have seen is but child's play beside this. This worthy gentleman must be one of those great painters of whom I have oft heard brother Bartholomew speak in the old days at Beaulieu."

The dark mobile face of the artist shone with pleasure at the unaffected delight of the two young Englishmen. His daughter had thrown off her mantle and disclosed a face of the finest and most delicate Italian beauty, which soon drew Ford's eyes from the pictures in front of him. Alleyne, however, continued with little cries of admiration and of wonderment to turn from the walls to the table and yet again to the walls.

"What think you of this, young sir?" asked the painter, tearing off the cloth which concealed the flat object which he had borne beneath his arm. It was a leaf-shaped sheet of glass bearing upon it a face with a halo round it, so delicately outlined, and of so perfect a tint, that it might have been indeed a human face which gazed with sad and thoughtful eyes upon the young squire. He clapped his hands, with that thrill of joy which true art will ever give to a true artist.

"It is great!" he cried. "It is wonderful! But I marvel, sir, that you should have risked a work of such beauty and value by bearing it at night through so unruly a crowd."

"I have indeed been rash," said the artist. "Some wine, Tita, from the Florence flask! Had it not been for you, I tremble to think of what might have come of it. See to the skin tint: it is not to be replaced, for paint as you will, it is not once in a hundred times that it is not either burned too brown in the furnace or else the color will not hold, and you get but a sickly white. There you can see the very veins and the throb of thee blood. Yes, diavolo! if it had broken, my heart would have broken too. It is for the choir window in the church of St. Remi, and we had gone, my little helper and I, to see if it was indeed of the size for the stonework. Night had fallen ere we finished, and what could we do save carry it home as best we might? But you, young sir, you speak as if you too knew something of the art."

"So little that I scarce dare speak of it in your presence," Alleyne answered. "I have been cloister-bred, and it was no very great matter to handle the brush better than my brother novices."

"There are pigments, brush, and paper," said the old artist. "I do not give you glass, for that is another matter, and takes much skill in the mixing of colors. Now I pray you to show me a touch of your art. I thank you, Tita! The Venetian glasses, cara mia, and fill them to the brim. A seat, signor!"

While Ford, in his English-French, was conversing with Tita in her Italian French, the old man was carefully examining his precious head to see that no scratch had been left upon its surface. When he glanced up again, Alleyne had, with a few bold strokes of the brush, tinted in a woman's face and neck upon the white sheet in front of him.

"Diavolo!" exclaimed the old artist, standing with his head on one side, "you have power; yes, cospetto! you have power, it is the face of an angel!"

"It is the face of the Lady Maude Loring!" cried Ford, even more astonished.

"Why, on my faith, it is not unlike her!" said Alleyne, in some confusion.

"Ah! a portrait! So much the better. Young man, I am Agostino Pisano, the son of Andrea Pisano, and I say again that you have power. Further, I say, that, if you will stay with me, I will teach you all the secrets of the glass-stainers' mystery: the pigments and their thickening, which will fuse into the glass and which will not, the furnace and the glazing – every trick and method you shall know."

"I would be right glad to study under such a master," said Alleyne; "but I am sworn to follow my lord whilst this war lasts."

"War! war!" cried the old Italian. "Ever this talk of war. And the men that you hold to be great – what are they? Have I not heard their names? Soldiers, butchers, destroyers! Ah, per Bacco! we have men in Italy who are in very truth great. You pull down, you despoil; but they build up, they restore. Ah, if you could but see my own dear Pisa, the Duomo, the cloisters of Campo Santo, the high Campanile, with the mellow throb of her bells upon the warm Italian air! Those are the works of great men. And I have seen them with my own eyes, these very eyes which look upon you. I have seen Andrea Orcagna, Taddeo Gaddi, Giottino, Stefano, Simone Memmi – men whose very colors I am not worthy to mix. And I have seen the aged Giotto, and he in turn was pupil to Cimabue, before whom there was no art in Italy, for the Greeks were brought to paint the chapel of the Gondi at Florence. Ah, signori, there are the real great men whose names will be held in honor when your soldiers are shown to have been the enemies of humankind."

"Faith, sir," said Ford, "there is something to say for the soldiers also, for, unless they be defended, how are all these gentlemen whom you have mentioned to preserve the pictures which they have painted?"

"And all these!" said Alleyne. "Have you indeed done them all? – and where are they to go?"

"Yes, signor, they are all from my hand. Some are, as you see, upon one sheet, and some are in many pieces which may fasten together, There are some who do but paint upon the glass, and then, by placing another sheet of glass upon the top and fastening it, they keep the air from their painting. Yet I hold that the true art of my craft lies as much in the furnace as in the brush. See this rose window, which is from the model of the Church of the Holy Trinity at Vendome, and this other of the 'Finding of the Grail,' which is for the apse of the Abbey church. Time was when none but my countrymen could do these things; but there is Clement of Chartres and others in France who are very worthy workmen. But, ah! there is that ever shrieking brazen tongue which will not let us forget for one short hour that it is the arm of the savage, and not the hand of the master, which rules over the world."

A stern, clear bugle call had sounded close at hand to summon some following together for the night.

"It is a sign to us as well," said Ford. "I would fain stay here forever amid all these beautiful things – " staring hard at the blushing Tita as he spoke – "but we must be back at our lord's hostel ere he reach it." Amid renewed thanks and with promises to come again, the two squires bade their leave of the old Italian glass-stainer and his daughter. The streets were clearer now, and the rain had stopped, so they made their way quickly from the Rue du Roi, in which their new friends dwelt, to the Rue des Apotres, where the hostel of the "Half Moon" was situated.

Chapter XXII. How the bowmen held wassail at the "Rose de Guienne."

"MON Dieu! Alleyne, saw you ever so lovely a face?" cried Ford as they hurried along together. "So pure, so peaceful, and so beautiful!"

"In sooth, yes. And the hue of the skin the most perfect that ever I saw. Marked you also how the hair curled round the brow? It was wonder fine."

"Those eyes, too!" cried Ford. "How clear and how tender – simple and yet so full of thought!"

"If there was a weakness it was in the chin," said Alleyne.

"Nay. I saw none."

"It was well curved, it is true."

"Most daintily so."

"And yet – "

"What then, Alleyne? Wouldst find flaw in the sun?"

"Well, bethink you, Ford, would not more power and expression have been put into the face by a long and noble beard?"

"Holy Virgin!" cried Ford, "the man is mad. A beard on the face of little Tita!"

"Tita! Who spoke of Tita?"

"Who spoke of aught else?"

"It was the picture of St. Remy, man, of which I have been discoursing."

"You are indeed," cried Ford, laughing, "a Goth, Hun, and Vandal, with all the other hard names which the old man called us. How could you think so much of a smear of pigments, when there was such a picture painted by the good God himself in the very room with you? But who is this?"

"If it please you, sirs," said an archer, running across to them, "Aylward and others would be right glad to see you. They are within here. He bade me say to you that the Lord Loring will not need your service to-night, as he sleeps with the Lord Chandos."

"By my faith!" said Ford, "we do not need a guide to lead us to their presence." As he spoke there came a roar of singing from the tavern upon the right, with shouts of laughter and stamping of feet. Passing under a low door, and down a stone-flagged passage, they found themselves in a long narrow hall lit up by a pair of blazing torches, one at either end. Trusses of straw had been thrown down along the walls, and reclining on them were some twenty or thirty archers, all of the Company, their steel caps and jacks thrown off, their tunics open and their great limbs sprawling upon the clay floor. At every man's elbow stood his leathern blackjack of beer, while at the further end a hogshead with its end knocked in promised an abundant supply for the future. Behind the hogshead, on a half circle of kegs, boxes, and rude settles, sat Aylward, John, Black Simon and three or four other leading men of the archers, together with Goodwin Hawtayne, the master-shipman, who had left his yellow cog in the river to have a last rouse with his friends of the Company. Ford and Alleyne took their seats between Aylward and Black Simon, without their entrance checking in any degree the hubbub which was going on.

"Ale, mes camarades?" cried the bowman, "or shall it be wine? Nay, but ye must have the one or the other. Here, Jacques, thou limb of the devil, bring a bottrine of the oldest vernage, and see that you do not shake it. Hast heard the news?"

"Nay," cried both the squires.