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It was set to music of a declamatory style by Emilio del Cavalieri, the author's collaborator in the pastoral plays that were really embryo operas. The title of the piece, "The Representation of the Body and the Soul," indicates the allegorical nature of the subject. Its initial performance occurred at Rome, February, 1600, in the oratory of San Filippo's church, Santa Maria della Vallicella.
The fire had gone out, and he determined to await Filippo's return before breakfasting. Deliberately scratching a match, he lighted a cigarette, thereby breaking the rule against smoking in the cabin. Then he stretched himself out on his bunk and began reading The Three Musketeers. Filippo returned before he had finished his chapter. The Italian's eyes grew round at the tobacco smoke.
In certain steps the painter depicted the hole through which the serpent issued from beneath the altar, and so well did he paint the cleft in one of the steps, that one evening one of Filippo's lads, wishing to hide something, I know not what, from the sight of someone who was knocking for admittance, ran up in haste in order to conceal it in the hole, being wholly deceived by it.
This indeed must be no common man; and he ordered that Filippo's chains should be immediately struck off, and that he should be treated with respect and honour. Nothing now was too good for this man of magic, and before long Filippo was put on board a ship and carried safely back to Italy.
Departing from the Duke, then, Baccio went to his architect, Giuliano di Baccio d'Agnolo, and discussed the whole matter with him; and, after they had gone to the place and examined everything with diligence, they resolved not to depart from the form of Filippo's model, but to follow it, adding only other ornaments in the shape of columns and projections, and enriching it as much as they could while preserving the original design and form.
"I guess we'll get our set all right day after to-morrow." It was almost noon the next day before Jim and Percy rolled out of their bunks in Camp Spurling. One of Filippo's best dinners satisfied the last cravings of their appetites; but for a week they felt the strain of their forty-seven hours in the dory and on the buoy. "When did you reach the Pollux, Throppy?" asked Jim.
Diamante, as the elder boy was called, was pleased to be admired so much by the little new pupil; but as time went on, his pride in his own work grew less as he saw with amazement how quickly Filippo's little brown fingers learned to draw straighter lines and more beautiful curves than any he could manage.
"Bring it yourself!" he growled. "I'm no servant! I don't shag kindling for any Dago!" At this insult Filippo's olive cheeks became quite pale. Into his eyes flashed a look Whittington had never seen there before. For an instant he almost feared that the young foreigner was about to seize a knife and spring upon him. Then the look passed and Filippo's color came back. "All right!" he laughed.
He liked to know that it was he who brought the colour to their cheeks and that their eyes sought him among the crowd of men standing outside Aragno's in the Corso or on the steps of the club in the Via Tornabuoni. Very often the affair would be one of the eyes only, but sometimes it went farther. Filippo's procedure varied.
Then, after that sad day when Lucrezia heard of Filippo's death, and the happy little home was broken up, Fra Diamante began in earnest to train the boy who had been left under his care. He had plenty of money, for Filippo had been well paid for the work at Spoleto, and so it was decided that the boy should be placed in some studio where he could be taught all that was necessary.
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