英語故事:The master artist

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 Monsieur Signy l'Abbaye was a master artist in his day, who in 1392 was ready to retire. It was the month of May. But Guiliano Bartoli, a rich Italian patron, sent for him saying, "I'd like a portrait of myself on my banquet room wall. Could you paint it? It's 20 feet tall."

     Contemplating this request, Monsieur l'Abbaye shook his head. "I'm ready to retire, so I'm not available for hire. I'm sorry. I simply can't paint your portrait." But seeing the disappointment in Senior Bartoli's eyes, he continued, "Well, there's a possibility if you can find it in your heart to allow me to explore the limits of my abilities. Not for money mind you, but for food and a bed instead. Furthermore, you need not even pose because my memory's excellent. Already I can see your portrait and how to deriveit. But I insist, Senior Bartoli, while I work your portrait stays private -- even from you!"

     This is strange, thought the patron, but he also thought about how highly the artist had been recommended. "Of course," he said "Anything you wish, but I insist upon paying you at least something for your effort. Let's draw up a contract."

     Now a glint came to Monsieur l'Abbaye's eyes as he gazed upon that 20-foot wall and thought of all that space, such a wonderful place for schemes and things to give imagination wings. Because, unknown to Senior Bartoli, or anyone else for that matter, for all of his career (which was 45 years) Monsieur L'Abbaye had yearnedto paint in his own way. And what way was that? Certainly not the style of Byzantine or of Proto-Renaissance. No. Monsieur Signy l'Abbaye had hungered to break free of restraints. But the guildtechniques.

     A week passed. "How is it coming?" asked the hopeful Senior Bartoli.

     Answering him from behind the curtain, Monsieur l'Abbaye said, "It's coming quite well. You know, at the age of eight I was apprenticeto the great Ambrogio Lorenzetti. I could never dishonor his name. He taught me the art of grinding pigmentwill do. It's four coats of lime plaster. First layer the trullisatio, followed by the arriccio, then the anenato and finally the intonaco not to mention the part where I draw. But it's the best plaster process I ever saw. Senior Bartoli, it will last forever, but alascontorted as though bewitched. Guiliano Bartoli obviously did not like his portrait, not a bit. Guiliano Bartoli threw a fit.

     "How absurd, how obscene. What does this mean? You'll not receive one Florine, do you hear? You're not an artist, maybe a thief or a madman. Get out of my sight! You'll leave my house tonight or I'll throw you out!"

     So what had Monsieur l'Abbaye drawnthat was wrong? He couldn't see it, he'd fussed and fixedfor so long. It was his masterpiece. He wasn't sorry, no, not at all, that he had drawn to his heart's content for 20 feet tall. No matter what anybody could say, Monsieur Signy l'Abbaye had drawn it his way. Perhaps his patron couldn't tolerate his obsessionwith cubist expression, but Picasso would have been proud.

     If truth be told Monsieur l'Abbaye wasn't crazy, surely. He'd simply been born 500 years too early!

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