1 am poor brother Lippo, by your leave!

     You need not clap your torches to my face.

     Zooks, what's to blame? you think you see a monk!

     What, 'tis past midnight, and you go the rounds,

     And here you catch me at an alley's end

     Where sportive ladies leave their doors ajar?

     The Carmine's my cloister: hunt it up,

     Do—harry out, if you must show your zeal,

     Whatever rat, there, haps on his wrong hole,

     And nip each softling of a wee white mouse,                10

     [Weke], [weke], that's crept to keep him company!

     Aha, you know your betters! Then, you'll take

     Your hand away that's fiddling on my throat,

     And please to know me likewise.  Who am I?

     Why, one, sir, who is lodging with a friend

     Three streets off—he's a certain . . . how d'ye call?

     Master—a . . . Cosimo of the Medici,

     I' the house that caps the corner.  Boh! you were best!

     Remember and tell me, the day you're hanged,

     How you affected such a gullet's-gripe!                    20

     But you, sir, it concerns you that your knaves

     Pick up a manner nor discredit you:

     Zooks, are we pilchards, that they sweep the streets

     And count fair prize what comes into their net?

     He's Judas to a tittle, that man is!

     Just such a face!  Why, sir, you make amends.

     Lord, I'm not angry!  Bid your hangdogs go

     Drink out this quarter-florin to the health

     Of the munificent House that harbors me

     (And many more beside, lads! more beside!)                 30

     And all's come square again.  I'd like his face—

     His, elbowing on his comrade in the door

     With the pike and lantern—for the slave that holds

     John Baptist's head a-dangle by the hair

     With one hand ("Look you, now," as who should say)

     And his weapon in the other, yet unwiped!

     It's not your chance to have a bit of chalk,

     A wood-coal or the like? or you should see!

     Yes, I'm the painter, since you style me so.

     What, brother Lippo's doings, up and down,                 40

     You know them and they take you? like enough!

     I saw the proper twinkle in your eye—

     'Tell you, I liked your looks at very first.

     Let's sit and set things straight now, hip to haunch.

     Here's spring come, and the nights one makes up bands

     To roam the town and sing out carnival,

     And I've been three weeks shut within my mew,

     A-painting for the great man, saints and saints

     And saints again.  I could not paint all night—

     Ouf! I leaned out of window for fresh air.                 50

     There came a hurry of feet and little feet,

     A sweep of lute-strings, laughs, and whifts of song—

     [Flower o' the broom,

     Take away love, and our earth is a tomb!

     Flower o' the quince,

     I let Lisa go, and what good is life since?

     Flower o' the thyme]—and so on.  Round they went.

     Scarce had they turned the corner when a titter

     Like the skipping of rabbits by moonlight—three slim shapes,

     And a face that looked up . . . zooks, sir, flesh and blood,

     That's all I'm made of! Into shreds it went,               61

     Curtain and counterpane and coverlet,

     All the bed-furniture—a dozen knots,

     There was a ladder! Down I let myself,

     Hands and feet, scrambling somehow, and so dropped,

     And after them.  I came up with the fun

     Hard by Saint Laurence, hail fellow, well met—

     [Flower o' the rose,

     If I've been merry, what matter who knows?]

     And so as I was stealing back again                        70

     To get to bed and have a bit of sleep

     Ere I rise up to-morrow and go work

     On Jerome knocking at his poor old breast

     With  his great round stone to subdue the flesh,

     You snap me of the sudden.  Ah, I see!

     Though  your eye twinkles still, you shake your head—

     Mine's shaved—a   monk, you  say—the sting's in that!

     If Master Cosimo announced himself,

     Mum's the word naturally; but a monk!

     Come, what am I a beast for? tell us, now!                 80

     I was a baby when my mother died

     And father died and left me in the street.

     I starved there.  God knows how, a year or two

     On fig-skins, melon-parings, rinds and shucks,

     Refuse and rubbish.  One fine frosty day,

     My stomach being empty as your hat,

     The wind doubled me up and down I went.

     Old Aunt Lapaccia trussed me with one hand,

     (Its fellow was a stinger as I knew)

     And so along the wall, over the bridge,                    90

     By the straight cut to the convent.  Six words there,

     While I stood munching my first bread that month:

     "So, boy, you're minded," quoth the good fat father

     Wiping his own mouth, 't was refection-time—

     "To quit this very miserable world?

     Will you renounce" . . . "the mouthful of bread?" thought I;

     By no means!  Brief, they made a monk of me;

     1 did renounce the world, its pride and greed,

     Palace, farm, villa, shop and banking-house,

     Trash, such as these poor devils of Medici                100

     Have given their hearts to—all at eight years old.

     Well, sir, I found in time, you may be sure,

     'T  was not for nothing—the good bellyful,

     The warm serge and the rope that goes all round,

     And day-long blessed idleness beside!

     "Let's see what the urchin's fit for"—that came next,

     Not overmuch their way, I must confess.

     Such a to-do!  They tried me with their books:

     Lord, they'd have taught me Latin in pure waste!

     [Flower o' the clove,                                     110

     All the Latin I construe is, "amo" I love!]

     But, mind you, when a boy starves in the streets

     Eight years together, as my fortune was,

     Watching folk's faces to know who will fling

     The bit of half-stripped grape-bunch he desires,

     And who will curse or kick him for his pains,

     Which gentleman processional and fine,

     Holding a candle to the Sacrament,

     Will wink and let him lift a plate and catch

     The droppings of the wax to sell again,                   120

     Or holla for the Eight and have him whipped,

     How say I?—nay, which dog bites?, which lets drop

     His bone from the heap of offal in the street—

     Why, soul and sense of him grow sharp alike,

     He learns the look of things, and none the less

     For admonition from the hunger-pinch.

     I had a store of such remarks, be sure,

     Which, after I found leisure, turned to use.

     I drew men's faces on my copy-books,

     Scrawled them within the antiphonary's marge,             130

     Joined legs and arms to the long music-notes,

     Found eyes and nose and chin for A's and B's,

     And made a string of pictures of the world

     Betwixt the ins and outs of verb and noun,

     On the wall, the bench, the door.  The monks looked black.

     "Nay," quoth the Prior, "turn him out, d' ye say?

     In no wise.  Lose a crow and catch a lark.

     What if at last we get our man of parts,

     We Carmelites, like those Camaldolese

     And Preaching Friars, to do our church up fine            140

     And put the front on it that ought to be!"

     And hereupon he bade me daub away.

     Thank you! my head being crammed, the walls a blank,

     Never was such prompt disemburdening.

     First, every sort of monk, the black and white,

     I drew them, fat and lean : then, folk at church,

     From good old gossips waiting to confess

     Their cribs of barrel-droppings, candle-ends—

     To the breathless fellow at the altar-foot,

     Fresh from his murder, safe and sitting there             150

     With the little children round him in a row

     Of admiration, half for his beard and half

     For that white anger of his victim's son

     Shaking a fist at him with one fierce arm,

     Signing himself with the other because of Christ

     (Whose  sad face on the cross sees only this

     After the passion of a thousand years)

     Till some poor girl, her apron o'er her head,

     (Which  the intense eyes looked through) came at eve

     On tiptoe, said a word, dropped in a loaf,                160

     Her pair of earrings and a bunch of flowers

     (The  brute took growling), prayed, and so was gone,

     I painted all, then cried "'T is ask and have;

     Choose, for more's ready!"—laid the ladder flat,

     And showed  my covered bit of cloister-wall.

     The monks closed in a circle and praised loud

     Till checked, taught what to see and not to see,

     Being simple bodies—"That's the very man!

     Look at the boy who stoops to pat the dog!

     That woman's like the Prior's niece who comes             170

     To care about his asthma: it's the life!"

     But there my triumph's straw-fire flared and funked;

     Their betters took their turn to see and say:

     The Prior and the learned pulled a face

     And stopped all that in no time.  "How? what's here?

     Quite from the mark of painting, bless us all!

     Faces, arms, legs and bodies like the true

     As much as pea and pea! it's devil's-game!

     Your business is not to catch men with show,

     With homage to the perishable clay,                       180

     But lift them over it, ignore it all,

     Make them forget there's such a thing as flesh.

     Your business is to paint the souls of men—

     Man's soul, and it's a fire, smoke . . . no, it's not . . .

     It's vapor done up like a new-born babe—

     (In that shape when you die it leaves your mouth)

     It's . . . well, what matters talking, it's the soul!

     Give us no more of body than shows soul!

     Here's Giotto, with his Saint a-praising God,

     That sets us praising—why not stop with him?             190

     Why put all thoughts of praise out of our head

     With wonder at lines, colors, and what not?

     Paint the soul, never mind the legs and arms!

     Rub all out, try at it a second time.

     Oh, that white smallish female with the breasts,

     She's just my niece . . . Herodias, I would say—

     Who went and danced and got men's heads cut off!

     Have it all out!  "Now,  is this sense, I ask?

     A fine way to paint soul, by painting body

     So ill, the eye can't stop there, must go further         200

     And can't fare worse!  Thus, yellow does for white

     When what you put for yellow's simply black,

     And any sort of meaning looks intense

     When all beside itself means and looks naught.

     Why can't a painter lift each foot in turn,

     Left foot and right foot, go a double step,

     Make his flesh liker and his soul more like,

     Both in their order? Take the prettiest face,

     The Prior's niece . . . patron-saint—is it so pretty

     You  can't discover if it means hope, fear,               210

     Sorrow or joy? won't beauty go with these?

     Suppose I've made her eyes all right and blue,

     Can't I take breath and try to add life's flash,

     And then add soul and heighten them three-fold?

     Or say there's beauty with no soul at all—

     (I never saw it—put the case the same—)

     If you get simple beauty and naught else,

     You get about the best thing God invents:

     That's somewhat: and you'll find the soul you have missed,

     Within yourself, when you return him thanks.              220

     "Rub all out!  "Well, well, there's my life, in short,

     And so the thing has gone on ever since.

     I'm grown a man no doubt, I've broken bounds:

     You should not take a fellow eight years old

     And make him swear to never kiss the girls.

     I'm my own master, paint now as I please—

     Having a friend, you see, in the Corner-house!

     Lord, it's fast holding by the rings in front—

     Those great rings serve more purposes than just

     To plant a flag in, or tie up a horse!                    230

     And yet the old schooling sticks, the old grave eyes

     Are peeping o'er my shoulder as I work,

     The heads shake still—"It's art's decline, my son!

     You're not of the true painters, great and old;

     Brother Angelico's the man, you'll find;

     Brother Lorenzo stands his single peer:

     Fag on at flesh, you'll never make the third!"

     [Flower o' the pine,

     You keep your mistr . . . manners, and I'll stick to mine!]

     I'm not the third, then: bless us, they must know!        240

     Don't you think they're the likeliest to know,

     They with their Latin? So, I swallow my rage,

     Clench my teeth, suck my lips in tight, and paint

     To please them—sometimes do and sometimes don't;

     For, doing most, there's pretty sure to come

     A turn, some warm eve finds me at my saints—

     A laugh, a cry, the business of the world—

     [(Flower o' the peach,

     Death for us all, and his own life for each!)]

     And my whole soul revolves, the cup runs over,            250

     The world and life's too big to pass for a dream,

     And I do these wild things in sheer despite,

     And play the fooleries you catch me at,

     In pure rage!  The old mill-horse, out at grass

     After hard years, throws up his stiff heels so,

     Although the miller does not preach to him

     The only good of grass is to make chaff.

     What would men have?  Do they like grass or no—

     May they or may n't they? all I want's the thing

     Settled forever one way.  As it is,                       260

     You tell too many lies and hurt yourself:

     You don't like what you only like too much,

     You do like what, if given you at your word,

     You find abundantly detestable.

     For me, I think I speak as I was taught;

     I always see the garden and God there

     A-making man's wife: and, my lesson learned,

     The value and significance of flesh,

     I can't unlearn ten minutes afterwards,

     You understand me: I'm a beast, I know.                   270

     But see, now—why, I see as certainly

     As that the morning-star's about to shine,

     What will hap some day.  We've a youngster here

     Comes  to our convent, studies what I do,

     Slouches and stares and lets no atom drop:

     His name is Guidi—he'll not mind the monks—

     They call him Hulking Tom, he lets them talk—

     He picks my practice up—he'll paint apace,

     I hope so—though I never live so long,

     I know what's sure to follow.  You be judge!              280

     You speak no Latin more than I, belike;

     However, you're my  man, you've seen the world

     —The  beauty and the wonder and the power,

     The shapes of things, their colors, lights and shades,

     Changes, surprises,—and God made it all!

     —For what?  Do you feel thankful, ay or no,

     For this fair town's face, yonder river's line,

     The mountain round it and the sky above,

     Much more the figures of man, woman, child,

     These are the frame to? What's it all about?              290

     To be passed over, despised? or dwelt upon,

     Wondered at? oh, this last of course!—you say.

     But why not do as well as say—paint these

     Just as they are, careless what comes of it?

     God's works—paint any one, and count it crime

     To let a truth slip.  Don't object, "His works

     Are here already; nature is complete:

     Suppose you reproduce her (which  you can't)

     There's no advantage! you must beat her, then."

     For, don't you mark? we're made so that we love           300

     First when we see them painted, things we have passed

     Perhaps a hundred times nor cared to see;

     And so they are better, painted—better to us,

     Which is the same thing.  Art was given for that;

     God uses us to help each other so,

     Lending our minds out.  Have you noticed, now,

     Your cullion's hanging face?  A bit of chalk,

     And trust me but you should, though! How much more,

     If I drew higher things with the same truth!

     That were to take the Prior's pulpit-place,               310

     Interpret God to all of you! Oh, oh,

     It makes me mad to see what men shall do

     And we in our graves!  This world's no blot for us,

     Nor blank; it means intensely, and means good:

     To find its meaning is my meat and drink.

     "Ay, but you don't so instigate to prayer!"

     Strikes in the Prior: "when your meaning's plain

     It does not say to folk—remember matins,

     Or, mind you fast next Friday!  "Why, for this

     What need of art at all?  A skull and bones,              320

     Two bits of stick nailed crosswise, or, what's best,

     A bell to chime the hour with, does as well.

     I painted a Saint Laurence six months since

     At Prato, splashed the fresco in fine style:

     " How looks my painting, now the scaffold's down?"

     I ask a brother: "Hugely," he returns—

     "Already not one phiz of your three slaves

     Who turn the Deacon off his toasted side,

     But's scratched and prodded to our heart's content,

     The pious people have so eased their own                  330

     With coming  to say prayers there in a rage:

     We get on fast to see the bricks beneath.

     Expect another job this time next year,

     For pity and religion grow i' the crowd—

     Your painting serves its purpose!  Hang the fools!

     —That is—you'll not mistake an idle word

     Spoke in a huff by a poor monk.  God wot,

     Tasting the air this spicy night which turns

     The unaccustomed head like Chianti wine!

     Oh, the church knows! don't misreport me, now!            340

     It's natural a poor monk out of bounds

     Should have his apt word to excuse himself:

     And hearken how I plot to make amends.

     I have bethought me: I shall paint a piece

     . . . There's for you!  Give  me six months, then go, see

     Something in Sant' Ambrogio's!  Bless the nuns!

     They want a cast o' my office. I shall paint

     God in the midst.  Madonna and her babe,

     Ringed by a bowery flowery angel-brood,

     Lilies and vestments and white faces, sweet               350

     As puff on puff of grated orris-root

     When ladies crowd to Church at midsummer.

     And then i' the front, of course a saint or two—

     Saint John, because he saves the Florentines,

     Saint Ambrose, who puts down in black and white

     The convent's friends and gives them a long day,

     And Job, I must have him there past mistake,

     The man of Uz (and Us without the z,

     Painters who need his patience).  Well, all these

     Secured at their devotion, up shall come                  360

     Out of a corner when you least expect,

     As one by a dark stair into a great light,

     Music and talking, who but Lippo!  I!—

     Mazed, motionless and moonstruck—I'm the man!

     Back I shrink—what is this I see and hear?

     I, caught up with my monk's-things by mistake,

     My old serge gown and rope that goes all round,

     I, in this presence, this pure company!

     Where's a hole, where's a corner for escape?

     Then steps a sweet angelic slip of a thing                370

     Forward, puts out a soft palm—"Not so fast!"

     —Addresses the celestial presence, "nay—

     He made you and devised you, after all,

     Though he's none of you!  Could Saint John there draw—

     His camel-hair make up a painting-brush?

     We come to brother Lippo for all that,

     [Iste perfecit opus.]"  So, all smile—

     I shuffle sideways with my blushing face

     Under the cover of a hundred wings

     Thrown like a spread of kirtles when you're gay           380

     And play hot cockles, all the doors being shut,

     Till, wholly unexpected, in there pops

     The hothead husband!  Thus I scuttle off

     To some safe bench behind, not letting go

     The palm of her, the little lily thing

     That spoke the good word for me in the nick,

     Like the Prior's niece . . . Saint Lucy, I would say.

     And so all's saved for me, and for the church

     A pretty picture gained.  Go, six months hence!

     Your hand, sir, and good-bye: no lights, no lights!       390

     The street's hushed, and I know my own way back,

     Don't fear me!  There's the gray beginning.  Zooks!

     NOTES

     "Fra Lippo Lippi" is a dramatic monologue which incidentally conveys

     the whole story of the occurrence the poem starts from—the seizure

     of Fra Lippo by the City Guards, past midnight, in an equivocal

     neighborhood—and the lively talk that arose thereupon, outlines the

     character and past life of the Florentine artist-monk (1412-1469)

     and the subordinate personalities of the group of officers; and

     makes all this contribute towards the presentation of Fra Lippo as a

     type of the more realistic and secular artist of the Renaissance who

     valued flesh, and protested against the ascetic spirit which strove

     to isolate the soul.

     7. The Carmine: monastery of the Del Carmine friars.

     17. Cosimo: de' Medici (1389-1464), Florentine statesman and patron

     of the arts.

     23. Pilchards: a kind of fish.

     53. Flower o' the broom: of the many varieties of folk-songs in

     Italy that which furnished Browning with a model for Lippo's songs

     is called a stornello.  The name is variously derived.  Some take it

     as merely short for ritornillo; others derive it from a storno, to

     sing against each other, because the peasants sing them at their

     work, and as one ends a song, another caps it with a fresh one, and

     so on.  These stornelli consist of three lines. The first usually

     contains the name of a flower which sets the rhyme, and is five

     syllables long.  Then the love theme is told in two lines of eleven

     syllables each, agreeing by rhyme, assonance, or repetition with the

     first.  The first line may be looked upon as a burden set at the

     beginning instead of, as is more familiar to us, at the end.  There

     are also stornelli formed of three lines of eleven syllables without

     any burden.  Browning has made Lippo's songs of only two lines, but

     he has strictly followed the rule of making the first line,

     containing the address to the flower, of five syllables.  The

     Tuscany versions of two of the songs used by Browning are as

     follows:

     "Flower of the pine!  Call me not ever happy heart again, But call

     me heavy heart, 0 comrades mine."

     "Flower of the broom!  Unwed thy mother keeps thee not to lose That

     flower from the window of the room."

     67. Saint Laurence: the church of San Lorenzo.

     88. Aunt Lapaccia: by the death of Lippo's father, says Vasari, he

     "was left a friendless orphan at the age of two . . . under the care

     of Mona Lapaccia, his aunt, who brought him up with very great

     difficulty till his eighth year, when, being no longer able to

     support the burden, she placed him in the Convent of the

     Carmelites."

     121. The Eight: the magistrates of Florence.

     130. Antiphonary: the Roman Service-Book, containing all that is

     sung in the choir—the antiphones, responses, etc.; it was compiled

     by Gregory the Great.

     131. joined legs and arms to the long music-notes: the musical

     notation of Lippo's day was entirely different from ours, the notes

     being square and oblong and rather less suited for arms and legs

     than the present rounded notes.

     139. Camaldolese: monks of Camaldoli.—Preaching Friars: the

     Dominicans.

     189. Giotto: reviver of art in Italy, painter, sculptor, and

     architect (1266-1337).

     196. Herodias: Matthew xiv.6-11.

     235. Brother Angelico: Fra Angelico, Giovanni da Fiesole

     (1387-1455), flower of the monastic school of art, who was said to

     paint on his knees.

     236. Brother Lorenzo: Lorenzo Monaco, of the same school.

     276. Guidi : Tommaso Guidi, or Masaccio, nicknamed "Hulking Tom"

     (1401-1429).  [Vasari makes him Lippo's predecessor.  Browning

     followed the best knowledge of his time in making him, instead,

     Lippo's pupil.  Vasari is now thought to be right.]

     323. A Saint Laurence . . . at Prato: near Florence, where Lippi

     painted many saints. [Vasari speaks of a Saint Stephen painted there

     in the same realistic manner as Browning's Saint Laurence, whose

     martyrdom of broiling to death on a gridiron affords Lippo's powers

     a livelier effect.]  The legend of this saint makes his fortitude

     such that he bade his persecutors turn him over, as he was "done on

     one side."

     346. Something in Sant Ambrogio's: picture of the Virgin crowned

     with angels and saints, painted for Saint Ambrose Church, now at the

     Belle Arti in Florence.  Vasari says by means of it he became known

     to Cosimo.  Browning, on the other hand, crowns his poem with

     Lippo's description of this picture as an expiation for his pranks.

     354. Saint John: the Baptist; see reference to camel-hair, line 375

     and Matthew iii. 4.

     355. Saint Ambrose: (340-397), Archbishop of Milan.

     358. Man of Uz : Job i. 1.

     377. [Iste perfecit opus]: this one completed the work.

     381. Hot cockles: an old-fashioned game.