What was here unfolding, he felt, or rather was already in full bloom, was what one might call, as another who died here once did, the "miracle of regained detachment," that ingenuous but contemplative state of mind from which all true creativity flows. This detachment was difficult to sustain, however, with that rude din just outside his windows, it was worse than those head-butts the puppets had given him, so he decided to escape the palazzo altogether and, in preparation for that spiritual task which, like a kind of artist's holy purgation, awaited him, to embark upon his long-planned pilgrimage to the works of Giovanni Bellini, poetic painter of Madonnas, whose many masterpieces anchored the city in that high serenity for which it was named and kept it from floating off through Ricci's and Tiepolo's silly ceilings. And where better to start than in the Accademia with the painting that had changed his life, "The Madonna of the Small Trees"?
But Eugenio, in a pink-faced dither, would have none of it. "Out of the question, dear boy! I need everyone here! My costume has to be completely remade, the bodice just won't do! Then there are the masked balls, the decorations, and I haven't even started on my introduction speech for the Gran Gala! Tomorrow night! Martedě Grasso! Can't you see?" The palazzo staff was indeed in great turmoil, the servants scuttling about feverishly, racing hither and thither on Eugenio's screamed orders, out one door and in another, crashing into each other on thresholds and tumbling down stairs, though it was not certain anyone was actually doing anything. "And now Count Agnello Ziani-Ziani Orseolo is on his way here with the deeds to the Palazzo Ducale! I told you I had something extravagant boiling, Pini! The Count is the direct descendant of nine doges, but he's at the green, as the saying goes, and we've got the gold! Think of it! The central building in the world! This is a chance that comes only once every Pope's death! But we have to grasp luck by the hair and the bull by the horns, my boy, a botta calda, while the drum's pounding -!"
"But you promised! You said I could have anything I wanted!"
"But, Pini, all the way to the Accademia -?! Be reasonable! I have five Madonnas right here in the palazzo. One of them might even be by Burloni!"
"Bellini."
"Bollini, Ballone, I simply can't do it, my dear! The Count is due here any moment! History is being made! Buffetto! Quickly! Take the professor to the Gritti and buy him a Picolit grappa!"
"I don't want to go to the Gritti!"
"Ahi, what a plague you are, Old Sticks! You always were such a restless thing, I did think you'd learned better!"
"It's not restlessness, it's my life's work! My Venetian monograph! I insist -!"
"Believe me, the worst thing you could possibly do, amor mio, is write another book about Venice!"
"But it's not about -!"
"Wait! How about the Biblioteca Marciana? Eh? Just the other day you were complaining that it was easier for you to visit a distant island than the Marciana across the way!"
"But there aren't any Bellinis -!"
"Tomorrow the sodding Bellinis! Today Petrarca! Cicero and Pliny! Marco Polo's will and Era Mauro's map! The Grimani Breviary! The Bessarion Codexes! A million precious volumes, Pini, if we haven't sold them! Not to mention the 'Wisdom' of Tiziano hanging up there someplace, and the immortal 'Philosophers' Gallery' in the Great Gilded Hall! How can you resist?"
"Well but -"
"Francatrippa! Buffetto! Hurry! Transport the professor across to the Sansovino Library immediately! This is important! Can't you see the dear man is waiting? His life's work depends upon it! And come back at once! Count Ziani-Ziani is on his way! The future of Venice awaits us!"
"Back in a crack, direttore!"
"In a pig's whisper, direttore!"
"In quattro e quat -!"
"Non fare il coglione, you impertinent blowhards! Get your feet out of here, or it's off with your heads! And I don't mean the ones with ears on them!"
And so they'd not even gone for his litter chair, they'd just swept him up by his armpits and gone clambering madly out of the palazzo as though escaping a burning building, bustling him, feet dangling, down the back stairs into the alleyway behind with its stale kitchen odors, clinking of dishes, and BLOWING GLASS FACTORY ENTRANCE sign, then through a tiny sottoportico past camera, clothing, and junk shops into the Piazza itself, startling the patrons of the Laverna as the three of them collided with the marble tables and sent the yellow café chairs tumbling; then, his feet fluttering behind him like a wind-whipped flag, they went racing pell-mell across the open end of the Carnivalized Piazza, under the rearing bronze horses and past the towering Campanile, colossal father figure of all bell towers, now sounding from on high its throaty five-mouthed alarums, putting white-masked tourists to flight as they charged down upon them and churning up clouds of terrified pigeons, barreling finally at full gallop through a doorway flanked by a pair of caryatids, massive and glossy as body builders on steroids, and bearing the legend: BIBLIOTECA NAZIONALE MARCIANA: LIBRERIA VECCHIA; without pause, he was hauled on up the marble stairs, now under workers' scaffolding, the vaulted ceilings and precious gilded grotesqueries hidden behind tented sheeting, and deposited hastily in the barren Great Hall, stripped of its display cases and undergoing restoration, no book in sight, not a person either, and there, without so much as a brief farewell, abandoned, his protest - "Wait! Stop! Damn you, take me back!" - unheard.
Stand there he could, but little more than, his knees shaky but holding, just, there in that cold empty hall, surrounded by a kind of cartoon gallery (he recognized Tintoretto's facile ink-stained hand) of ancient philosophers mocking him with their robust good health and their evident immunity to folly. Not a one with a wooden head. He felt cruelly judged. Was one of them his master Petrarch? No doubt. Perhaps that one in the golden robe, teetering on a loose pile of books, piercing him through with his dark sagacious gaze. Petrarch had bequeathed to Venice his entire library, the most splendid private collection of its time, launching the idea of this building in which to house it, and then had taken the whole lot back again. The professor had flown here from America with the poet's Epistolae seniles under his arm, and it might now be said their roles had been reversed, he now (it was the dank sad smell of the place perhaps that suggested this) in the great man's armpit. Francesco Petrarca, alias Petrarch, Petracchi, Petracco, Petraccolo, and Petrocchio: like himself the most celebrated scholar of his age, one who also blended art and theology, promoted the classic vision, opposed folly and deceit, and became an exemplar in his lifetime for all humanity, the old professor not excluded. He had stopped short of producing bastard children, but had otherwise emulated in all ways the noble life of his fellow Platonist and Tuscan, even in ways unpremeditated, for Petrarch had also, upon becoming a boy (this is said to have happened when he saw Dante in Pisa at the age of eight), lived a pious and studious youth, suffered a Hollywood-like period of dissipation on foreign soil (Petrarch's faucet worked better, there were consequences), then found his true vocation through an idealized love, abjuring lust and devoting himself thereafter to a lifetime of scholarship, writing, and tenured self-denial. They both had wandered the world in pursuit of truth and beauty, and had both ended up finally here in Venice, though Petrarch had lived long enough to die elsewhere, something the old professor doubts will be granted him. They both struggled their lives long against Aristotelians (Sophists they scorned outright), Petrarch finally driven from this city on that score, no wonder he took his books back. And they both were, it could be said, composers of tombstones
On either side of the doorway through which he had been ported in such haste, posted there in their voluptuous robes like candidates for honorary degrees or guests at a royal feast (Veronese again, to be sure, that sybaritic host) and coldly examining him now in his doddering ignominy, stood the warring figures from his own and Petrarch's intellectual history, Aristotle and Plato. Plato's gaze, though full of disappointment and sorrow, was essentially benign, like that of a forgiving lover, but Aristotle, dressed as a Moorish prince, appeared to be glaring
fiercely at him, giving him the big eye, as they say here, as though enraged at the bad press the professor had given him all these years. He had made Aristotle - and standing there on his trembling pins, feeling the chill of hostility in the air, needing all the friends he could find, he nevertheless did not regret this, and so, bravely, with what eye remained, returned the glare - the emblematic target of his lifelong dispute with those who substituted mere problem solving and art-for-art's-sake banalities for the pursuit of idealized beauty, and thus of truth and goodness as well. Aristotle and his vast camp following had unlinked art from its true transcendent mission, reducing it to just another isolated discipline, one among many, the worst of heresies, he deserved no quarter even had he any, in his extremity, to give.
Perhaps a cloud went by, or else it was a trick of his old eyes, but Aristotle seemed to wince as though at a bad odor and turn away, dismissing him with a contemptuous shrug, while Plato's austere expression, contrarily, appeared to soften, a faint appreciative smile curling the great sage's lips. His aged disciple, confused but moved (though move in fact he could not), dipped his nose in modest homage to the master, whereupon Plato, his rosy robes rustling gently, lifted one hand, puckered his fat lips, and, with a coy wink, blew him a kiss. The professor started, Plato's eyes rolled up to stare in alarm at the ceiling, he jerked his own head back and - crack! pop! - there it stuck, his rot-decayed neck locked, his nose pointing up at Il Padovanino's barbarous allegorical roundel, while around him the venerable philosophers wheezed and giggled like mischievous schoolboys. Which is when Bluebell came in and said: "Hey, Professor Pinenut! What a surprise! Whatcha lookin' at?"
There was a time once, he was still a young man in his early sixties, when he decided that writing about the decline of art in the Western world was not enough, he had to become a painter himself and establish the new classical norms by example. Futurism, expressionism, cubism, surrealism, abstraction, op art and pop art and all the rest: just forms of iconicized naughtiness, when you got down to it, and he felt it was up to him to recover art's ancient integrity, its sense of duty, its inherent grandeur. No more self-mocking irony, no more moral shilly-shallying, but true devotion: this was his cause, so he bought himself a box of paints and pencils and turned up at life-drawing class. It was not something he could accomplish overnight, he knew that, his eyes were open, but no one understood the history of art better than he did and he had been pretty good at basket making, so he figured it was just a matter of time, a year or two perhaps, he could be patient. He took to wearing berets, smocks, and neckerchiefs, and let the four or five hairs on his upper lip grow.
As it happened, the model for the art class was a student in his Art Principles 101 (was it this student? he couldn't be sure, but he thought not, remembering the girl as shy and delicate with body hair the color of burnt sienna dulled with a touch of Sicilian umber, which he had to go out and buy separately since it wasn't in his paint box), and about three weeks into the semester she came to see him late one afternoon during office hours. This was before the time of tights and miniskirts, it was more a ponytail-and-bobbysocks time when skirts were full and long and often pleated, and so, as she came in and sat down in his office, her flexing hips and legs were more like the subtle implications of hips and legs enveloped as they were in the soft contours of her flowing skirt, and, he thought as she gathered the folds around her, expressing a thigh here, hiding a knee there, much more provocative than when seen in the flesh, which he tended to look on primarily as a technical problem. That choice of roughly five parts of burnt sienna to one of Sicilian umber to capture the soft dark luster of her body hair, for example, was dictated in part by reality and his close examination of it, and thus captured something of the absolute for which he was always searching, but it was also tempered by the inconstant flesh tones of her circumambient thighs and abdomen, which seemed sometimes pale, almost bluish, and at other times tenderly flushed, almost aglow, and so threatened him with that relativity he so abhorred: if not even private hair color was constant, what then was Truth? An important question, perhaps none more so, yet one that seemed strangely irrelevant in his office that afternoon as he caught a teasing but imprecise glimpse of pale shadowy thigh when she crossed her legs and said: "That's just it, Professor Pinenut: it's - it's your nose!"
"What -?" He realized then it had been growing and had become engorged and feverish at the tip, and, as always on such occasions, he ducked his head and buried the unruly thing in a handkerchief. "Sorry, Miss, just a bit of a -!"
"I always get the feeling, you know, in the studio, that you're painting with your nose, and it gives me a very eery feeling, not so much in the art class itself where it seems almost natural, even when it bumps the canvas and gets paint on the end of it or when it's down between my knees when you're mixing colors, but in your lecture class when you're all dressed up in your nice wool suits and standing up there on the platform in front of everybody like the president or something and pointing it straight at some art slide you're showing, and, well, it's suddenly so - so naked!" She blushed and pushed her trembling hands between her knees, tightening the skirt around her hips. "It - it almost scares me, and I get this funny feeling between my legs like, well, like God's there, you know, doing something, and I can't even hear what you're saying anymore and everything else just disappears and all I can see is your nose and I can hardly breathe and I'm wet and trembling all over and probably the other kids around me are laughing but I don't even know they're there, there's just nothing in the world except your nose, pointing at me suddenly, like it is now, and this weird overwhelming feeling, even now I can almost - oh! - almost not stop it! - and what I'm wondering, Professor Pinenut, what's - gasp! - got me scared is, well - ah! - am I the Madonna?"
That was when he shaved his upper lip and gave up painting. And that was when he stopped blaming individual painters for the tragic decline of art. He now knew they couldn't help it. It was just how things were.
Which is more or less what he is thinking now when Bluebell, who is still cuddled up close with her arm around him, whispers in his earhole: "You know, Professor Pinenut, sometimes I think I don't even like paintings, even great ones like that one up there on the ceiling. They just seem so dead or phony or something, like those photos they put up outside movie theaters to advertise the films they're showing and which aren't anything like the films at all. But just watching you look at a painting like you are now - I don't know, maybe it's your nose or something, how intense it gets, how excited, like it's really on to something - whatever, I just get this tremendous feeling that, even though I'll never understand it, something great is happening, and it's enough for someone like me just to be close enough to pick up the vibrations. If I'm too dumb or insensitive to feel what you feel, you know, at least I can feel you feeling it!"
He knows he should tell her the real reason he is staring at this stupid painting, just as he should have told that teary-eyed student in his office that day that she was not the Madonna and stopped her from licking his nose all over, but he hates, now as then, to break the spell. Bluebell has moved behind him and, taller than he, now stands looking down, their heads pointed in opposite directions, into his eyes, her blond hair falling in curtaining wisps, her soft breasts, unzipped from the windbreaker, resting snugly on his shoulders like a kind of furry foam rubber warming pad. It is wonderfully relaxing. He can feel the back of his neck unpopping, unsnapping, almost like magic. He squints up past her smiling eyes and wonders if he sees what he sees. "The - the roots of your hair - " he whispers hoarsely, as she blows a quivering pink bubble toward his forehead and at the last second sucks it back between her bright white teeth: "- are they - are they blue -?"
"Oh yeah," she laughs lightly, giving her head a little shake to tickle his face with its strands, her breasts hobbling gently around his ear-holes. "Just a silly college stunt. A bunch of us girls thought it'd be neat to dye our hair some weird punk color, and I did mine in this funky blue to, like, you
know, go with my sweater. Pretty dumb, hunh? Thank goodness, it's finally growing out - only the roots are left."
"Ah " The stiffness in his neck seems to have melted away. He finds he can lower his chin at last and his headache has utterly evaporated, though his face feels flushed and pinched in a not unpleasant way. He wonders if, in some mysterious way, he has found the illusive closing image for his monograph
"Speaking of my sweater, prof," she adds, holding something strung on a gold chain in front of his nose, "you left this inside it last time." It is his ear, now blackened and shriveled up like a smoked oyster. He can feel his headache coming back. "I thought it was maybe kind of a present, you know, like a fraternity pin or something, so I've been - snap! ffpoop! - wearing it, but if you need it for anything ?"
"No -!" he squeaks.
"Gosh, thanks a million, Professor Pinenut," she whispers and gives him from behind a tender little hug. "I'll always wear it next to my heart, just where I found it! Right here - see?"
He turns his head, following the dangled ear, and, encouraged by her pointing finger, presses his earhole into the warm blue hollow where its dessicated outer shell is snuggled. As he listens to the accelerating thump within, nodding in concert with it, his nose stroking lightly the fleecy breast, he tells himself with an outburst of rapture that what he sees there before his crossed eyes is beauty's very essence: form as divine thought, the single and pure perfection which resides in the mind, of which an image and likeness, rare and holy and soft as a powder puff, is here raised up for adoration. He wishes to explain this to her, discreetly of course, never once forgetting that she is the student, he her teacher and moral exemplar, wishes to tell her that beauty, my dear Bluebell, beauty alone is both lovely and visible at once, and indeed touchable as well, it is all that we can know of the spiritual by way of the senses and is the discriminating person's route to it, if approached with the appropriate fear and reverence and without getting overexcited, if you can help it, just a matter, the route that is, of following your nose, so to speak - but before he can even get started on this little essay the servants Buffetto, Francatrippa, and Truffaldino come storming in with his portantina, shouting: "Come quickly, master! We have something to show you!"
(1991) Pinocchio in Venice Page 25
