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As if the fact of punishment at length overtaking the guilty Franceschini were any vindication of the justice of that assumed Providence, which had for so long a time awarded punishment far more harsh to the innocent Pompilia. So far as you can be content with the vindication of a justice of this less than equivocal quality, the sight of the monster brought to the
And in like manner we may say of Guido Franceschini that even to have touched him in the way of resistance detracts from pure heroism. Perhaps the same consideration explains the comparative disappointment which most people seem to have felt with Pompilia in the third volume. Again, there is nothing which can be rightly called majesty of character visible in one personage or another.
There is another painter here, called Franceschini, a Bolognese, who, though certainly very inferior to Guido, is yet a person of excellent powers. One entire church, that of Santa Catarina, is covered by his works. I do not know whether any of his pictures have ever been seen in England.
He drove us all finally to see the tomb of Juliet in the Vicolo Franceschini, and it was before that uninspiring stone trough full of visiting cards, behind a bowling green of suburban patronage, that I heard him, on general grounds of expediency, make contrite advances to Mrs. Portheris. "I think I ought to tell you," he said, "that my views have undergone a change since I saw you." Mrs.
And thus finally he took up the scheme of the Franceschini story, and developed it on a scale with a degree of elaboration, repetition, and management, and inexhaustible scholarship which was never perhaps before given in the history of the world to an affair of two or three characters.
The figure of the Venetian senator designated as Franceschini is the better performance of the two; the lifeless head of Titian, which looks very like an afterthought, has been copied, without reference to the relation of the two figures the one to the other, from the Uffizi picture, or some portrait identical with it in character.
This poem , which has been facetiously called "a Roman murder story," was suggested to him by a "square old yellow book," which he purchased for a few cents at Florence in 1860. This manuscript, dated 1698, gives an account of the trial of Guido Franceschini for the murder of his wife. Out of this "mere ring metal," Browning fashioned his "Ring," a poem twice the length of Paradise Lost.
Browning picked up the original parchment-bound record of the Franceschini case, on a stall of the Piazza San Lorenzo.
In June 1860 Browning lighted, among the litter of odds and ends exposed for sale in the Piazza San Lorenzo, Florence, upon the "square old yellow book," part print, part manuscript, which contained the crude fact from which his poem of the Franceschini murder case was developed. The price was a lira, "eightpence English just."
The double portrait in the collection of Her Majesty the Queen at Windsor Castle, styled Titian and Franceschini has no pretensions whatever to be even discussed as a Titian.
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