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Gebhart attributes to Alessandro di Mariano Filipepi about eighty-five pictures, many of which were long ago in Morelli's taboo list that terrible Morelli, the learned iconoclast who brought many sleepless nights to Dr. Wilhelm Bode of Berlin. Time has vindicated the Bergamese critic. Berenson will allow only forty-five originals to Botticelli's credit.
The terrier was raising a litter of puppies in the next room, and the cat had transformed the space back of Morelli's bed into a feline nursery, and a meeting of the two anxious mothers in the hall had led to trouble.
Yet the spirit of the master seems still to breathe through the ruin, and to justify Morelli's ascription, if not the enthusiastic language in which he writes. Seminario, Venice With the fourth addition on Morelli's list we pass into a totally different sphere of art the decoration of cassoni, and other pieces of furniture.
Nevertheless, his spirit breathes amidst the ruin, and modern critics have recognised the justice of Morelli's view, rather than that of Crowe and Cavalcaselle, who suggested Schiavone as the "author."
The next picture on Morelli's list is the "Fête Champêtre" of the Louvre, or, as it is often called, the "Concert." In this endeavour Crowe and Cavalcaselle led the way by suggesting the author was probably an imitator of Sebastiano del Piombo.
How mysterious, too, is S. Francis! rapt in his own thoughts, yet strangely human. We have now examined ten of the twelve pictures added, on Morelli's initiative, to the list of genuine works, and we have found very little, if any, serious opposition on the part of later writers to his views. Not so, however, with regard to the remaining two pictures.
He negatived the Press Agent's suggestion to make a scare-head story of the escape for the papers, and suggested that they should go up and hear Madam Morelli's account of it. She was sitting on the edge of her bed, mending a rip which the jaguar's sharp claws had made in her gown, and she shrugged her shoulders when the Stranger inquired if she had been hurt. "It was nothing," she said laughing.
Eloquent voices she had had throughout, in her Press as well as in her legislative chambers Morelli's, Barzini's, Albertini's, Malagodi's, not to speak of Sartorio's, Ferrero's, Annie Vivantes, and many more but it quickens my pulse to remember that it was the voice of a poet which at the final moment was to speak for the Italian soul. We can well imagine it.
Finally, on Morelli's list figures the "Shepherd" at Hampton Court, for the genuineness of which the critic would not absolutely vouch, as he had only seen it in a bad light. Perhaps no picture has been so strongly championed by an enthusiastic writer as has been this "Shepherd" by Mr. Berenson, who strenuously advocates its title to genuineness.
Nevertheless, it is not as critical as Morelli's Italian Painters. Details about the typical ears, hands, and noses of the painter may be found therein. The last word concerning Botticelli will not be uttered until his last line has vanished. And, even then, his archaic harmonies may continue to sound in the ears of mankind.
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