Page:Hoffmann's Strange Stories - Hoffman - 1855.djvu/286

, which were talked of throughout Rome. One of these pictures represented the emblem of Human Frailty; the principal figure, type of inconstaney and luxury, was manifestly a portrait of the mistress of one of the princes of the Church.

The other picture was a representation of Fortune, scattering her gifts as chance directed; her hand rained down in profusion cardinal's caps, bishop's mitres, purses filled with gold, and insignia of public honors; all these distinctions fell upon donkeys, upon stupid sheep; whilst by the side of these animals, men whose eyes shone with the fire of genius, vainly awaited the least part of these favors. The work of Salvator expressed a bitter irony, and each one of these animals bore a striking resemblance in feature to the physiognomy of some of his enemies. I leave you to think by what rage the academicians of San-Luca were animated at the sight of this.—Not content with every where decrying his talent, they laid plots against his life. Salvator would have been glad to leave Rome, had it not been for the deep affection which he cherished for the good Catherine and her two daughters.

Forced to yield to a dire necessity, he set out for Florence, where the welcome of the Grand-Duke rendered justice to the brilliancy of his genius. His pictures here met with such rapid favor, that he soon found himself able to reëstablish his affairs on the former footing of splendor which he had enjoyed. His house became the resort of the most celebrated persons of the time; there were scen together there Evangelista Corieelli, Valerio Chimeutelli, Battista Ricciardi, Andrea Cavalcanti, Pietro Salvati, Phillippo Apoloni, Vulumnio Bandelli and Francesco Rovai, all poets and artists whose reputation was crowned by the friendship of Salvator.

At a short distance from his friend's palace, master Antonio Scacciati was making his fortune under the auspices of love. They both loved to pass together, with the pretty Marianna, long hours in recalling the adventures of Nicolo's theatre.—Marianna alone did not always share their joy; her loving