Renaissance Fancies and Studies: Being a Sequel to EuphorionLee, Vernon
History
Renaissance Fancies and Studies: Being a Sequel to Euphorion
Lee, Vernon
Art, Italian; Art, Renaissance -- Italy
Although more passionately longing--he knew not, he dared not tell
himself for what--Domenico did not come with the curious exaltation of
spirits of his companion, all whose antiquarian lore had gone to his
head, and who really imagined himself to be a genuine Pagan engaged in
Pagan rites. For Filarete the ceremony was everything; for Domenico it
was merely a means, a sort of sacrilegious juggling, into which he had
not inquired more particularly, which was to give him the object of his
wishes at the price of great peril to his soul. But when the subterranean
chamber was filled with a cloud of incense, through which, in the dim
yellow light of the lamp, the naked gods and goddesses on the vault, the
satyrs and nymphs, the Tritons and Bacchantes seemed to float in and out
of sight, a feeling of awe, of an unknown kind of reverence and rapture,
began to fill his soul, and his eyes became fixed on the lid of the
carved sarcophagus--vague images of Christian resurrections mingling
with his hopes--Would the god appear?
Filarete, meanwhile, had enveloped his head in a long linen veil,
and, after washing his hands thrice in a golden basin brought for the
purpose, he placed some faggots on the sarcophagus, lit them, and
throwing grains of incense and of salt alternately into the flames,
began to chant in an unknown tongue, which Domenico guessed to be Greek.
Then beckoning to the painter, who was kneeling, as at church, in a
corner, he bade him unpack a basket matted over with leaves, whose
movements and sounds had puzzled Domenico as he carried it down. In
great surprise, and with a vague sense of he knew not what, he handed
its contents to Filarete. It was a miserable little lamb, newly born,
its long, soft legs tied together, its almost sightless, pale eyes
half-started from its sockets. As the humanist took it, it bleated with
sudden shrill strength, and Domenico could not help thinking of certain
images he had seen on monastery walls of the Good Shepherd carrying the
lame lamb on his shoulders. This was very different. For, with an odd
ferocity, Filarete placed the miserable young creature on the stone
before the fire, and slit its throat and chest with a long knife.
The god did not appear. They extinguished the lamps, left the carcase
of the lamb half charred in a pool of blood on the stone, and slowly
reascended into the daylight, leaving behind them, in the vaulted
chamber, a stifling fume of incense, of burnt flesh, and mingled damp.
Public-domain text, read in full here on John Shaqi.
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