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I do not know whether I ought not to take you to the Museo on so bright a morning, although I should like better to stroll with you on the Paseo by the pretty river across which I look to the faintly seen hills of Ronda, with the rich palm-trees in the foreground, and a great stone pine in the middle distance, which would recall to us the Campagna and Italy.
In the quiet retirement of the Museo I opened to that one of its members to whom the director especially had commended me, Don Rafael Moreno, the purposes which I had in view, and the means by which I hoped to accomplish them.
The archives of the Franciscan province, that has its centre here extend back to the year 1531; those of the Bishopric of Michoacan to the year 1538; and those of the Colegio de San Nicolás to the year 1540; while in the recently founded Museo Michoacano already has been collected a rich store of archæological material.
I do not know what defence to offer for not having visited the galleries of the Museo Civico, where by actual count in the guide-book I missed one hundred and sixty-nine works of art, though just how many masterpieces I am not able to say: probably one out of every ten was a masterpiece.
He recalled how he used to go into the Museo with halting steps, how he feared to leave the easel, lest people might notice the gaping soles of his boots that left his feet uncovered. He passed through the vestibule and opened the first glass door.
A thin golden vapor softened the features of the landscape, towards the sun, while, on the opposite side, every object stood out in the sharpest and clearest outlines. On our way to the Museo, Bailli took us to the house of a friend of his, in order that we might taste real Manzanilla wine. This is a pale, straw-colored vintage, produced in the valley of the Guadalquivir.
A new bridge was immediately built, only to be destroyed in the same way on 1st January 1644. In 1660 the present Ponte di Mezzo was finished by Francesco Nave of Rome. It was on these bridges that the great Pisan game the Giuoco del Ponte was played, a model of which may be found in the Museo.
Renovales felt overcome by the insistence of the Hungarian, who seized his hands with a dramatic expression, as though he would die at a refusal. Good for the Chianti! They would lunch together, and while Tekli was giving a few touches to his work, he would wait for him, wandering through the Museo, renewing old memories.
And I nodded and smiled to myself, recalling some of her comments upon certain figures in the marble gallery of the Museo that afternoon. There was nothing in the least inane or parrot-like about her conversation. I experienced a more genial and friendly feeling than had been mine till then toward the whole of my fellow-passengers.
Fra Guglielmo, another pupil of Niccolò's, in his work at Perugia more nearly preserves the manner of his master, though always inferior to him in beauty and force: but in the work of Arnolfo which remains to us chiefly in the tomb of Cardinal de Braye in S. Domenico at Orvieto, and in the Tabernacle of S. Paolo Fuori at Rome, and more especially in the work of Giovanni Pisano in the pulpit for the Duomo of Pisa, now in the Museo, for instance, we may see the beginnings of that new Tuscan sculpture which in Andrea Pisano and Andrea Orcagna was to make the work of Nanni di Banco, of Ghiberti and Donatello possible, and through them to inspire the art of all the sculptors of the fifteenth century, that is to say of the Renaissance itself.
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