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The Statue and the Bust

There's a palace in Florence, the world knows well,
And a statue watches it from the square,
And this story of both do our townsmen tell.

Ages ago, a lady there,
At the farthest window facing the East
Asked, "Who rides by with the royal air?"

The bridesmaids' prattle around her ceased;
She leaned forth, one on either hand;
They saw how the blush of the bride increased--

They felt by its beats her heart expand-- 10
As one at each ear and both in a breath
Whispered, "The Great-Duke Ferdinand."

That self-same instant, underneath,
The Duke rode past in his idle way,
Empty and fine like a swordless sheath.

Gay he rode, with a friend as gay,
Till he threw his head back--"Who is she?"
"A bride the Riccardi brings home to-day."

Hair in heaps lay heavily
Over a pale brow spirit-pure-- 20
Carved like the heart of a coal-black tree,

Crisped like a war-steed's encolure--
And vainly sought to dissemble her eyes
Of the blackest black our eyes endure.

And lo, a blade for a knight's emprise
Filled the fine empty sheath of a man--
The Duke grew straightway brave and wise.

He looked at her, as a lover can;
She looked at him, as one who awakes:
The past was a sleep, and her life began. 30

Now, love so ordered for both their sakes,
A feast was held that selfsame night
In the pile which the mighty shadow makes.

(For Via Larga is three-parts light,
But the palace overshadows one,
Because of a crime which may God requite!

To Florence and God the wrong was done,
Through the first republic's murder there
By Cosimo and his cursed son.)

The Duke (with the statue's face in the square) 40
Turned in the midst of his multitude
At the bright approach of the bridal pair.

Face to face the lovers stood
A single minute and no more,
While the bridegroom bent as a man subdued--

Bowed till his bonnet brushed the floor--
For the Duke on the lady a kiss conferred,
As the courtly custom was of yore.

In a minute can lovers exchange a word?
If a word did pass, which I do not think, 50
Only one out of the thousand heard.

That was the bridegroom. At day's brink
He and his bride were alone at last
In a bedchamber by a taper's blink.

Calmly he said that her lot was cast,
That the door she had passed was shut on her
Till the final catafalk repassed.

The world meanwhile, its noise and stir,
Through a certain window facing the East,
She could watch like a convent's chronicler. 60

Since passing the door might lead to a feast
And a feast might lead to so much beside,
He, of many evils, chose the least.

"Freely I choose too," said the bride--
"Your window and its world suffice,"
Replied the tongue, while the heart replied--

"If I spend the night with that devil twice,
May his window serve as my loop of hell
Whence a damned soul looks on paradise!

"I fly to the Duke who loves me well, 70
Sit by his side and laugh at sorrow!
Ere I count another ave-bell,

"'Tis only the coat of a page to borrow,
And tie my hair in a horse-boy's trim,
And I save my soul--but not to-morrow"--

(She checked herself and her eye grew dim)
"My father tarries to bless my state:
I must keep it one day more for him.

"Is one day more so long to wait?
Moreover the Duke rides past, I know; 80
We shall see each other, sure as fate."

She turned on her side and slept. Just so!
So we resolve on a thing and sleep:
So did the lady, ages ago.

That night the Duke said, "Dear or cheap
As the cost of this cup of bliss may prove
To body or soul, I will drain it deep."

And on the morrow, bold with love,
He beckoned the bridegroom (close on call,
As his duty bade, by the Duke's alcove) 90

And smiled, "'Twas a very funeral,
Your lady will think, this feast of ours,
A shame to efface, whate'er befall!

"What if we break from the Arno bowers,
And try if Petraja, cool and green,
Cure last night's fault with this morning's flowers?"

The bridegroom, not a thought to be seen
On his steady brow and quiet mouth,
Said, "Too much favour for me so mean!

"But, alas! my lady leaves the South; 100
Each wind that comes from the Apennine
Is a menace to her tender youth:

"Nor a way exists, the wise opine,
If she quits her palace twice this year,
To avert the flower of life's decline."

Quoth the Duke, "A sage and a kindly fear.
Moreover Petraja is cold this spring:
Be our feast to-night as usual here!"

And then to himself--"Which night shall bring
Thy bride to her lover's embraces, fool-- 110
Or I am the fool, and thou art the king!

"Yet my passion must wait a night, nor cool--
For to-night the Envoy arrives from France
Whose heart I unlock with thyself my tool.

"I need thee still and might miss perchance.
To-day is not wholly lost, beside,
With its hope of my lady's countenance:

"For I ride--what should I do but ride?
And passing her palace, if I list,
May glance at its window-well betide!" 120

So said, so done: nor the lady missed
One ray that broke from the ardent brow,
Nor a curl of the lips where the spirit kissed.

Be sure that each renewed the vow,
No morrow's sun should arise and set
And leave them then as it left them now.

But next day passed, and next day yet,
With still fresh cause to wait one day more
Ere each leaped over the parapet.

And still, as love's brief morning wore, 130
With a gentle start, half smile, half sigh,
They found love not as it seemed before.

They thought it would work infallibly,
But not in despite of heaven and earth:
The rose would blow when the storm passed by.

Meantime they could profit in winter's dearth
By store of fruits that supplant the rose:
The world and its ways have a certain worth:

And to press a point while these oppose
Were simple policy; better wait: 140
We lose no friends and we gain no foes.

Meantime, worse fates than a lover's fate
Who daily may ride and pass and look
Where his lady watches behind the grate!

And she--she watched the square like a book
Holding one picture and only one,
Which daily to find she undertook:

When the picture was reached the book was done,
And she turned from the picture at night to scheme
Of tearing it out for herself next sun. 150

So weeks grew months, years; gleam by gleam
The glory dropped from their youth and love,
And both perceived they had dreamed a dream;

Which hovered as dreams do, still above:
But who can take a dream for a truth?
Oh, hide our eyes from the next remove!

One day as the lady saw her youth
Depart, and the silver thread that streaked
Her hair, and, worn by the serpent's tooth,

The brow so puckered, the chin so peaked, 160
And wondered who the woman was,
Hollow-eyed and haggard-cheeked,

Fronting her silent in the glass--
"Summon here," she suddenly said,
"Before the rest of my old self pass,

"Him, the Carver, a hand to aid,
Who fashions the clay no love will change
And fixes a beauty never to fade.

"Let Robbia's craft so apt and strange
Arrest the remains of young and fair, 170
And rivet them while the seasons range.

"Make me a face on the window there,
Waiting as ever, mute the while,
My love to pass below in the square!

"And let me think that it may beguile
Dreary days which the dead must spend
Down in their darkness under the aisle,

"To say, 'What matters it at the end?
'I did no more while my heart was warm
Than does that image, my pale-faced friend.' 180

"Where is the use of the lip's red charm,
The heaven of hair, the pride of the brow,
And the blood that blues the inside arm--

"Unless we turn, as the soul knows how,
The earthly gift to an end divine?
A lady of clay is as good, I trow."

But long ere Robbia's cornice, fine,
With flowers and fruits which leaves enlace,
Was set where now is the empty shrine--

(And, leaning out of a bright blue space, 190
As a ghost might lean from a chink of sky,
The passionate pale lady's face--

Eyeing ever, with earnest eye
And quick-turned neck at its breathless stretch,
Some one who ever is passing by)

The Duke had sighed like the simplest wretch
In Florence, "Youth--my dream escapes!
Will its record stay?" And he bade them fetch

Some subtle moulder of brazen shapes--
"Can the soul, the will, die out of a man 200
Ere his body find the grave that gapes?

"John of Douay shall effect my plan,
Set me on horseback here aloft,
Alive, as the crafty sculptor can,

"In the very square I have crossed so oft:
That men may admire, when future suns
Shall touch the eyes to a purpose soft,

"While the mouth and the brow stay brave in bronze--
Admire and say, 'When he was alive
How he would take his pleasure once!' 210

"And it shall go hard but I contrive
To listen the while, and laugh in my tomb
At idleness which aspires to strive."


So! While these wait the trump of doom,
How do their spirits pass, I wonder,
Nights and days in the narrow room?

Still, I suppose, they sit and ponder
What a gift life was, ages ago,
Six steps out of the chapel yonder.

Only they see not God, I know, 220
Nor all that chivalry of his,
The soldier-saints who, row on row,

Burn upward each to his point of bliss--
Since, the end of life being manifest,
He had burned his way thro' the world to this.

I hear you reproach, "But delay was best,
For their end was a crime." Oh, a crime will do
As well, I reply, to serve for a test,

As a virtue golden through and through,
Sufficient to vindicate itself 230
And prove its worth at a moment's view!

Must a game be played for the sake of pelf
Where a button goes, 'twere an epigram
To offer the stamp of the very Guelph.

The true has no value beyond the sham:
As well the counter as coin, I submit,
When your table's a hat, and your prize a dram.

Stake your counter as boldly every whit,
Venture as warily, use the same skill,
Do your best, whether winning or losing it, 240

If you choose to play!--is my principle.
Let a man contend to the uttermost
For his life's set prize, be it what it will!

The counter our lovers staked was lost
As surely as if it were lawful coin:
And the sin I impute to each frustrate ghost

Is--the unlit lamp and the ungirt loin,
Though the end in sight was a vice, I say.
You of the virtue (we issue join)
How strive you? De te, fabula! 250


"The Statue and the Bust" creates the characters and the situation, and dramatically represents a story which is based
on a Florentine tradition that Duke Ferdinand I placed
his equestrian statue in the Piazza dell' Annunziata so that
he might gaze forever towards the old Riccardi Palace,
where a lady he loved was imprisoned by her jealous husband.
The bride and her ducal lover are seen exchanging
their first looks, through which they perceive the genuineness
of their love; and the temporizing of each is presented,
through which, for the sake of petty conveniences,
they submit to be thwarted by the wary husband, and to
have the end they count supreme delayed until love and
youth have gone, and the best left them is the artificial
gaze interchanged by a bronze statue in the square and a
clay face at the window. The closing stanzas point the
moral against the palsy of the will, whose strenuous exercise
is life's main gift.

I. There's a palace in Florence: refers to the old
Riccardi Palace, now the Palazzo Antinori, in the square
of the Annunziata, where the statue still stands.

22. encolure: neck and shoulder of a horse

33. The pile which the mighty shadow makes: refers to
another palace in the Via Larga where the duke (not the
lady) lived, and which is to-day known as the Riccardi
Palace. Cooke's "Browning Guide Book" and Berdoe's
"Browning Cyclopaedia" both confuse the two, attributing
error to Browning in spite of his letter about it. This
confusion was cleared up by Harriet Ford (Poet-lore, Dec.
1891, vol. iii. p. 648, "Browning right about the Riccardi Palace'').

36. Because of a crime, etc.: refers to the destroying of
the liberties of the Florentine republic by Cosimo dei
Medici and his grandson, Lorenzo, who lived in the then
Medici (now Riccardi) Palace, whose darkening of the
street with its bulk symbolizes the crime which took the
light from Florence.

57. catafalk: the stage or scaffolding for a coffin whilst in the church

94. Arno bowers: the palace by the Arno, the river
flowing through Florence.

95. Petraja: a Florentine suburb.

169. Robbia's craft: the Robbia family were skilled in
shaping the bisque known as Della Robbia ware which
was long one of the Florentine manufactures, and traces
of which, when Browning wrote, still adorned the outer
cornice of the palace.

202. John of Douay [Giovanni of Bologna], sculptor (1524-1608).
The statue is one of his finest works.

250.. De te, fabula! Concerning thee, this fable!