seeing his carcass
taking the road to the Empyrean, began to squeal like a pig being
killed. This proves plainly he had no real assurance in the promised
joys of Paradise--which are, it must be allowed, far from certain. In
the same way as nurses tell children fairy-tales, vague things are
talked concerning the immortality of mortal men. The vulgar herd thinks
it believes these tales, but it does not really and truly. Hard fact
comes and shivers the poets' fables. There is nothing assured but the
sad life of this world. Horace, the Roman poet, is of my opinion when he
says: _Serus in caelum redeas_."[1]

[Footnote 1: "_May it be long ere you return to heaven your home._"--Ode
2 of Book I, addressed to Augustus.]

III

THE MASTER

Having learned the art of preparing and using the proper coats and
colours, as well as the secret of painting figures in the good manner of
Cimabue and Giotto, the young Buonamico Cristofani, the Florentine,
surnamed Buffalmacco, abandoned the workshop of his master Andrea Tafi,
and proceeded to establish himself in the quarter of the fullers,
immediately opposite to the house known by the sign of the Goose's Head.
Now in those days, like fair ladies outvying one another in wearing
gowns broidered with flowers, the towns of Italy made it their pride to
cover the walls of their Churches and Cloisters with paintings. Among
all these, Florence was the most sumptuous and magnificent, and was the
place of all others for a Painter to live in. Buffalmacco knew how to
give his figures movement and expression; and, while far behind the
divine Giotto for beauty of design, he pleased the eye by the gay
exuberance of his inventions. So he was not long in getting commissions
in considerable numbers. It only depended on himself to win riches and
fame with all speed. But his chief idea was to amuse himself in company
of Bruno di Giovanni and Nello, and squander along with them, in
debauchery, all the money he made.

Now the Abbess of the Ladies of Faenza, established at Florence,
determined about this time to have the Church of their Nunnery decorated
with frescoes. Hearing that there lived in the quarter of the fullers
and wool-carders a very clever painter named Buffalmacco, she despatched
her Steward thither to come to an arrangement with him as to the
execution of the proposed paintings. The master agreed to the terms
offered and undertook the commission readily enough. He had a
scaffolding erect