Three Parables by Prudentibus Narr from "The Cabinet"

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Three Parables

The Squirrel Who Wanted to See Everything All From One Spot

The King Who Adored His Own Splendor

The Artist Who Created Works of Perfection

The Squirrel Who Wanted To See Everything All From One Spot

There was once a squirrel who wanted to see everything all from one spot.

One bright morning, he scurried up to the topmost branch of the poplar in which his mother had built her nest. The breeze was soft and the air crisp. The little fellow breathed deeply and looked out over the meadow below. There, at its far side, was a doe. Across from her a turkey hen and her poults pecked their way through the tall grass. A heron flew overhead and above the heron the squirr el watched the clouds shutter and unshutter the sun. It was late enough in the spring that the bolder stalks of Queen Anne's lace had begun to unfold their flowers but not so late that the crossvines had faded, their yellow and red trumpets still freckling the cedars. The squirrel looked here, and he turned and looked there. It was all so interesting, and so lovely. He was deeply happy.

"'Morning, friend squirrel."

Startled, the squirrel turned again and saw the crow roosting on the branch beneath him.

"Oh, good morning Crow," said the squirrel. "You gave me a fright, I didn't see you fly in."

"I didn't fly in. I've been here all night." The crow stretched, and yawned, as only a crow can yawn very long and very gravely and very black and continued, "but you were so fixed on clambering up to this tree top that you passed right by my branch. Lucky for you I wasn't an owl, or even worse, a bobcat."

"Oh my, oh yes," said the squirrel, "yes I am glad for that, not a bobcat, that would certainly be a problem, but it's such a beautiful morning, I so wanted to climb up, to get to the top quickly because there is so much to see and from here I can see everything all from one spot -- I guess I missed you entirely."

And the squirrel told the crow all the interesting things he could see from his perch at the tree's top.

"Yes, indeed, it's a fine spot for a view, so much to take in," said the Crow. "Do you see that tall stand of pines, just beyond the meadow's edge? And do you see that very tall pine, taller than all the rest, in the middle of that stand?"

The little squirrel looked beyond the meadow. There, on its far side, was a stand of pines that that rose up against the sky. And there in the middle of that stand was a tree taller than all the rest.

The crow stretched himself again. "I've flown many times to that pine and it's a lot taller than the tree we're in now. You can see much father from it and besides, that stand of pines rises up so high that you can't see the valley and range of hills behind it."

The little squirrel was startled. He had been on this branch many mornings before, in fact he'd been on this branch every morning since the first one when he left his mother's nest, yet although he had seen that stand of pines he never before really noticed it and even more, imagined that something might lie beyond it, out of sight. Really? Truly? A valley, and beyond it, a range of hills? It must be so interesting, so marvelous to see, and so beautiful. The squirrel thought hard. And, from that pine, he reasoned, wouldn't he be able to see back to his familiar poplar and meadow too? Couldn't he see both his poplar and meadow and the valley and hills beyond, everything all from one spot?

"Is it far to that pine tree, Crow?" the squirrel asked, hesitantly.

"No, not terribly far, it's just across the meadow. But it is the meadow"

Yes, the meadow. The squirrel remembered right away the little squeaks he had heard yesterday afternoon. The noise, so strange and unexpected, caught him by surprise and he wheeled around on his branch to just catch a glimpse of a hawk climbing back into the

sky out of the meadow, a bunny in its talons. He had been taught to avoid the open meadow, to stay, as much as possible in the trees, and he had followed that advice, leaping from branch to branch, tree to tree and venturing out onto the open ground only when necessity compelled him. But the meadow, no, he had not ventured out there.

Yet, as he looked across the meadow to the grove and the tall pine, the squirrel grew restless and annoyed. He chuck-chucked under his breath. How could he have not seen that grove and that pine before? He found his present perch, which he had previously thought so congenial, cramped and stunted. Even the air seemed close. He looked, fleetingly, down at the crow. He felt very young, and stupid.

The sun had climbed higher now and the clouds that had intermittently shadowed the squirrel's view were gone. The meadow was bright with light and the tall pine across the meadow stood black against the horizon.

But the view. The squirrel so wanted to see everything all from one spot. He had to get to that pine. Tail raised, body tensed, he steeled himself for a dash across the meadow. All its threats the hawk, the bobcat, the rattlesnake taunted him in his head. But in a flash of decision he bolted from the ling ering shadow of his poplar home and raced across the open field.

Luck was with him. Twenty seconds of focused terror and the squirrel was across the meadow and enfolded in the dark green shadows of the pine grove at its far side. Heart thudding, the squirrel sprang up into the nearest pine, leaping from branch to branch, from tree to tree, going deeper into the grove until he had found the oldest and tallest tree at the grove's center. And up to the top of that tree he raced.

At the pine's top branch, a cool gust caught him by surprise and the squirrel lost his balance for just a second. But with a flip of his tail he quickly righted himself and paused to look.

The view! Yes, there, just as the crow said, beyond the stand of pines, was a valley, and rising up beyond the valley were hills, rolling off to the east. There was a village in the valley, and a river, and a bridge out of the village crossing the river and a road running up that disappeared into the hills. There were people on the road, and carts, and horses. There were fields with mules hitched to plows and men calling to each other, and he could even hear the grinding gears of the mill , its blades turning in the wind It was a whole new world, a fascinating, thriving, beautiful world! The squirrel turned and looked back, over his shoulder, and saw too, beyond now the tops of the black green pines, the meadow and on the meadow's far side , his poplar home, looking sweet but now small and very quiet. The sun was now fully over head and the world was filled with light. There was so much to look at, so much to take in. And it was so beautiful. The squirrel looked and looked and was deeply happy.

The squirrel made a nest for himself in the pine and spent his days looking over the grove and the valley and the village and the hills beyond. In the night he would fall

asleep, watching the lights in village go out as the stars moved across the sky, the noises of the village dying way to the crackles of the insects and the croaks of the frogs.

One morning, as the squirrel was enjoying watching the comedy of a farmer teaching his son how to harness mules to a plow and on which side which mule went the crow flew in and perched on a branch just below him.

"Hello Crow," said the squirrel as the crow settled himself on the branch. "You were so right! This is a wonderful view and there is so much to see!" And the squirrel hurriedly told him all about the village, and the river, and the men on the road and in the fields and the hills beyond, and about how happy he was because from her e he could see everything all from one spot.

"Yes, it's a wonderful spot, Squirrel. So much to see, and so interesting. You're certainly right about that." The crow breathed in deeply and then yawned ( as only a crow can yawn very long and very gravely and very black). "Do you see those hills, beyond the river, Squirrel?"

"Of course I see the hills," said the squirrel, more than a bit annoyed that the crow would think that he hadn't b ecause he had just told the him that he'd watched yesterday as a driver, loosing control of a cart on the road going up into the hills, was crushed as the cart rolled back down the hill and over him. "Yes, I've seen the hills and they are indeed very interesting, Mr. Crow." The squirrel raised his tail very tall, very stiff, and very proud.

"Yes," said the Crow, eyeing the squirrel's display, "Yes, yes, you have but have you noticed this? It's hard to see and only those with the sharpest eyes can see it from this distance. But maybe you can just glimpse it, right about the brow of the highest hill." The crow stretched his wing toward the farthest hills. "Look there."

The squirrel leaned forward on his branch and looked carefully, his gaze tracing the cusp of each arch of the hills. He wasn't certain, really not certain at all, but he thought that perhaps he saw just the tinniest hint of something thin and black, rising up above the horizon.

He turned to the crow.

"Yes, Crow. Of course I see that, it's very small and faint, but I can see it ,” said the squirrel, pointing in the same direction that the crow had gestured.

"Oh, very good. That is impressive indeed Squirrel," said the crow. " Few can see that. That's the topmost spire of the Cathedral of Die Heilige Weisheit. It's in the middle of the great city on the harbor and that lays across the plain on the far side of those hills."

The far side of the hills? There was a far side of those hills? The little squirrel was startled. He had been on this pine branch many mornings by now, looking at everythin g in the valley and in the town and up and down the river, and even across his shoulder to the meadow and the poplar now far back to the west, and then back again to the hills but he had never before really imagined that something might lie beyond those hills, out of sight. Really? Truly? There was a far side of those hills? A side that the squirrel hadn't seen? An unknown world just like the world that had laid beyond the meadow, beyond this stand of pines? A world with a great plain and a city and a towering cathedral? It must be so interesting, so marvelous to see, and so beautiful. And from the highest hill, he reasoned, wouldn't he be able to see back across the river and over the pine grove and even to his familiar poplar and meadow too? And the poplar, and the meadow, and the pine grove, and the village and the river, and the hills, and the pla in, and the great city and the Cathedral of Die Heilige Weisheit wouldn't he be able to see everything all from one spot?

The crow eyed the little squirrel. His tail was not as stiff as it had been.

"Is it far to the top of that hill, Crow?" the squirrel asked, hesitantly.

"No, not terribly far, it's just through the village, across the river and up the hill," said the crow.

The village, and the river, and up the hill and the carts, and horses, the men hurrying on the road and the dogs running in the fields. The squirrel had spent enough time in the pine looking out over the little valley to know the dangers in the crow's "not terribly far." The race across the meadow seemed now no more perilous than shifting himself in his mother's nest when he thought about getting to the top of those hills.

Yet, it must be so beautiful, and so interesting, and he so wanted to see everything all from one spot.

So, again the little squirrel steeled himself. And again, in a flash of decision, he bolted . He leapt off his perch in the tall pine, springing from branch to branch and from pine to pine, until he reached the edge of the grove and then ran down the slope to the road leading to the village. There were cartwheels and hooves of horses and cattle and sheep and snapping dogs and yelling men and boys with sticks. It was much further than the little squirrel had thought and the village was much bigger than he had imagined. The sun fell even before he made it to the bridge and the brave little squirrel waited through the night crouched in a cedar stump by the river's bank, the hooting of owls jarring his fitful sleep . His poplar home seemed very far away and he shivered, frightened and alone.

But the morning came and with it he found his resolve renewed. Sheltered by the long shadows of the dawn, he snuck along the bridge's railing, the water of the river below him as black as a crow's wing. And at the river's far side there wasn't just one

hill to climb, but one hill and then another, and then another each one a bit higher and steeper than the one before.

Finally, at as the sun was setting at his back, the little squirrel reached the crest of the highest hill. Tired and bruised and scraped he found a small oak and climbed up into it, so weary that he couldn't even raise his head. But just as the last rays of the sun cast their benediction the little squirrel looked up, and gasped. There to the east, gilded by the suns et, was the great spire of the Cathedral of Die Heilige Weisheit, raised like a jeweled scepter over the huge city. Further to the east was the harbor, filled with ships, and to the south the arch of a g reat bay. Behind him, as the sun dipped below the horizon, the little squirrel thought he could see, ever so slimly, the re beyond the river and the village, the silhouette of the pine on the meadow's far border and beyond that his poplar home. He was filled with wonder and he drifted asleep, his dreams sparked with the joy that

He woke deeply happy, his happiness compounded by the discovery that there was still and abundance of acorns within easy reach. For days the little squirrel looked over the city, noting the arrivals of the sailing ships, the clamor of the dock workers, the guards on the battlements, and even the arrival of the prince archbishop with his great carriage and mounted guards and gaudy standards. It was so interesting. And so beautiful. He was deeply happy and content.

"Quite splendid, isn't he, that prince archbishop."

Startled, the squirrel turned and saw that the crow had roosted on a branch just above him.

"Oh, hello Crow!" said the squirrel warmly. "I'm so very glad to see you," he continued. "You were right, this indeed is a marvelous place! And there is so much to see here!" And the squirrel rattled off to the crow all the wonderful things he had been observing the last several days, his words falling over themselves in his excitement.

"Yes, yes" finally said the crow. "I've been many places and this is certainly the most magnificent city in the world. There is no place else like it."

The crow paused, tilted his head slightly, and asked, "Don't you find that cathedral tower fantastic?"

"Yes! Yes, indeed" quickly answered the squirrel, and he went on to talk about the saints he'd seen carved on it sides and the intricacies of its stone tracery, which he had looked at carefully and thought that it reminded him of the vines growing up his poplar home beyond the tall pine and the meadow .

The crow interrupted the squirrel again. "Have you looked up at the very top?"

The squirrel had spent a good deal of time the past several days looking at the cathedral and he was now quite offended by the crow's tone.

"Yes, of course I've looked up at the top, Crow," said the squirrel. "At the top of the spire there's something like a knob and on top of the knob there's a cross and at the top of the cross there's a metal flag that moves with the wind."

The crow nodded. "Yes, indeed," crow said calmly. " And as you said, you looked up".

Up. Surprised, the squirrel thought to himself, yes, he looked up.

The crow stretched, and yawned, as only a crow can yawn very long and very gravely and very black and said, "You see, the tower of the Cathedral of Die Heilige Weisheit is much taller than even this hilltop, friend Squirrel. From here we're looking down on the great city but we must look up to see that tower's peak. There's no higher spot than the peak of the cathedral's tower. I have flown there many times and from there the whole world is at my feet. If you want to see everything all from one spot, as you have frequently told me, there is where you must be."

This time the squirrel didn't ask if it were far to the tower's top; he knew it would be a much longer journey than it looked, and far more dangerous. This was not a village, but the imperial capital. And the roads were filled not only with carts and flocks and herds and snapping dogs and boys with sticks but with wagons and carriages and mounted cavalry with swords and pistols. The city was walled and the wall surrounded by a moat

and the gate guarded by a portcullis. And the great cathedral was in the middle of the great city, across a great plaza that was never shadowed. And the great cathedral itself was not a poplar or a tall pine or an oak at a hill's crest, but a mountain of stone .

Yet the squirrel knew what he must do. He had come far and had risked much, risked everything really. But across the meadow, and through the village, and up this hilltop each time his luck had held. And each time the crow had been right. There was so much more to see, so much more to know, so much more to enjoy. And he so wanted to see everything all from one spot.

So, one more time, the little squirrel screwed his courage to the sticking place and with an explosion of grit sprang from his roost in the little oak and raced down the hill toward the great city and the Cathedral of Die Heilige Weisheit.

But it was a long way to the center of the city and the plaza before the great church, the longest way yet. The highway to the city was jammed with travelers and the little squirrel was constantly in danger of being trampled under foot, or hoof, or wheel. As he neared the bridge that spanned the moat he leapt onto a hay wagon, burying himself deeply in the hay but at the barbican that guarded the bridge the tariff collectors almost impaled him as they rammed their pitchforks into the hay, searching for contraband.

Inside the walls the streets were narrow and dark and filthy and airless and the little squirrel ached for the sun-dappled woods of his poplar home. But he pressed on for he so wanted to see everything all from one spot. He came to a great square and saw a mountain of stone rising up at its far side, and the squirrel dashed to its foot and scampered up its walls and up its tower but at the building's peak he looked out and saw, there still to the east, the far higher tower of the Cathedral of Die Heilige Weisheit. And he looked to his left and to his right and saw many towers on many fine buildings and he despaired at finding the cathedral in such a great city. Downcast and exhausted, the squirrel found a corner of a dormer where he huddled for the night, the glockenspiel striking off the hours below him.

It took him two days more to reach the plaza before the Cathedral of Die Heilige Weisheit. On the morning of the third day, the squirrel crept carefully around the corner of the palace that formed one whole side of the plaza, and looked up at the cathedral.

It was more than a mountain of stone, it was a continent. Ris ing up out from the plaza, the Cathedral of Die Heilige Weisheit shimmered in the afternoon sun. The tympanum where Christ in Majesty welcomed the redeemed and condemned the damned, the twenty-four elders, the statues of the liberal arts and the kings of Israel, the great rose window, the columns higher and higher the facade of the cathedral rose until it crowded out the sky.

Looking warily to the left and to the right, the squirrel zigzagged his way across the busy plaza to the cathedral's base. A service was beginning and thr ough the open doors he could hear the responses and smell the incense. He put out his paw and hesitantly touched the stone. It was warm. He touched it again and thought of the bark on the poplar tree and his mother's nest up in its branches, all now so far away.

A little leap and he was on a low cornice. A second and he was in a niche, a third and he was climbing up the twists of a wreathed column. Up the facade the squirrel climbed. Across the tracery of the great rose window, hop ping from one crocket to another, clinging to the stony robes of the Old Testament prophets; balustrades, corbels and finials and moldings, embattlements and grotesques all became stages of his ascent. He came to the windows of the belfry and climbed up the apostle who stood as a jamb at the opening's side. The wind whistled through the windows but the great bells hung silent, waiting for when they would peal across the city the paean of the Cathedral of Die Heilige Weisheit.

He was on the ledge above the belfry now, higher now than he had ever been. From below he could hear murmurs of the liturgy, Pange, lingua, gloriosi, Corporis mysterium ; birds flew around him, chirping their protests at his invasion of their realm, but he could not stop, he was not yet at the top.

Past the crow-headed gargoyles, up the carved gables, along the side of the Madonna, across the splayed buttresses and through the pierced railing that wrapped around the tower like a crown of thorns, the little squirrel finally reached the raked roof of the tower. Claw hold by claw hold he crawled up, fixed only on that one goal, to be at that one place where he could see everything all from one spot.

At last he reached the luxuriant finial that surmounted the roof, climbed up the iron cross which was mounted on its top and, pulling himself up on its arms, gripped the little metal flag that spun at its top, and stopped.

He held himself for a moment, and then looked.

There, opening itself to him in the east, lay the harbor of the city, the docks and the customhouses and the warehouses, the breakwater, the islands and the huge ocean sea beyond, stretching out forever. The moon was rising and the first stars were beginnin g to glitter through the purple dusk while high over him flew a wedge of swans, their lovers cries softly reaching him. To the south lay the arch of the bay and beyond that the wide salt marshes. To the west, bright now in the setting sun, the little squirrel could s ee the vastness of the city with her mansions and guildhalls and tenements and parish churches and towers and walls. And beyond the walls lay the fields and the hills, and the valley and the village and the pine and the meadow and the squirrel's poplar home.

The vastness of the view, its sweep and grandeur, it was all more b eautiful than he could ever have imagined. The fatigue and pain of the journey dropped from him and the terrors of the previous weeks were utterly forgotten. He had never before felt so completely alive and so magnificently happy. For here indeed, he could see everything all from one spot.

But as he looked to the east, out over the city and her harbor and across the bay to the islands and the wide ocean, the little squirrel suddenly realized that he couldn't see the hills and the village and the stand of pines and the meadow and his poplar home beyond. He quickly wheeled around and looked west. Yes, there they all were, the hills sharp outlined against the sunset, and far off in the distance and faint the poplar, still there, still his home. The little squirrel turned this way and th at as he clung onto the metal flag atop the cross, trying to find a position where he could see both the islands and the ocean sea as well as the hills and the village and the meadow beyond, to see everything all from one spot. He could find positions to see some things and even most things, but try as he might, it was always some, never all. He could see a bit of the ocean sea and some of the valley but not the meadow, or he could glimpse the meadow and the gate of the great city but not the arch of the bay. He turned this way and that, hung upside down on the arms

of the cross, twisted his head, but it was always the same, he could never quite see everything all from one spot.

The great service in the C athedral of Die Heilige Weisheit was ending and the bells in the tower below him were beginning to toll. Dumm, bhrang, dumm, bhrang, they sounded as they swayed, the tower shaking with their peal. The little squirrel, frantic now to see everything all from one spot, raced around the top of the cross and up and over the metal flag, spinning his head from one position to another hoping find someway, any way, where he could see everything all from one spot. But the bells continued their toll and, as the sun sank below the hills and the valley and the village and the stand of pines and the meadow grew dark, a wind came up from the harbor, suddenly twirling the metal flag and the little squirrel lost his purchase on the cross and fell.

He spun and twisted in his fall, his long, long fall, past the great bells and the apostles , past the kings and the saints, past the intricate tracery of the tower and the mullions or the rose, finally hitting a gargoy le and thrown off it like a discarded toy. He struck the pavement in the square before the doors of the cathedral just as the procession emerged, the prince archbishop, the clerks, the canons, the thurifers: praestet fides supplementum, sensuum defectui. . . .

The splendid company took no notice of the brave little squirrel, bloody on the pavement at their feet. On his back, now shattered, and his once proud tail crushed, he looked up. And as his eyes shuttered closed he saw the crow, gliding in the blackening sky above him and, just for a moment, a wisp of a moment, the little squirrel thought saw everything all from one spot.

The King Who Adored His Own Splendor

There was once a king who adored his own splendor.

And because he adored his own splendor, magnificence radiated from him throughout his realm just as the sun's fire illuminates everything within its sight.

The king built a palace that rivaled the even memory of the courts of the Caesars. Set in the middle of a great forest alive with game, th e king commanded that it be built of only the most precious woods and marbles. He brought the greatest artists of his age to decorate its halls with paintings and statues of gods making love and men pursuing pleasure Singers and instrument players filled the palace with music and the sent of flowers provoked even in the stairwells memories of spring gardens in full bloom. The king demanded that only the most handsome men and beautiful women attend him and required that wit, sharp as a rooster's spur and cruel as a cat’s paw , rule the conversation. The day was given to hunting, war, and matters of state and the nights to banqueting, masques, and feasting on pleasures both bold and best whispered.

The king conquered a neighboring land and, as a spoil of war, he claimed his right to the humbled republic's greatest artist. The artist was a man much of the king's heart for not

only was he a monarch among artists but his passions of every kind very much matched those of the king.

Newly arrived at the palace, the artist resolved that the first work he presented his lord would be of a magnificence worthy of the king's splendor. Intrigued by the artist's project, and amused at his audacity, the king instructed the steward of the household to give the artist carte blanche; whatever th e artist needed he was to have.

A workshop was setup for the artist near the stables and the king ordered guards posted at its gates. Assistants were hired and sworn, with terrible oaths, to secrecy. Carts arrived, their contents covered and their drivers muttering strange languages. Forges were built and their fires stoked, day and night. Th e artist had finished the work no, he had grown dissatisfied and thrown it in the crucible no, he had stabbed an assistant who misplaced a great pearl – no, the project had been abandoned, the artist fleeing to a distant land – no, enns were chan ted before the furnaces and sigils gouged into the anvils and the hearths stained with forbidden offerings one after another rumors twisted through the court as weeks grew to months and months to years. But through them all the hammers were heard and the fires burned and their sparks flew up the chimneys out into the night to mix with the stars, casting a benediction of magic over the great enterprise , occulted and veiled.

Finally, the artist announced it was done. The king commanded the artist to present his work to the court, ordering a great banquet prepared. Blazing with the fires of a thousand candles the gallery of the palace dazzled, the light reflecting off the polished panels, the gilded plate, the brilliant jewels of the women and the lambent eyes of the men.

The shawms and sacbuts sounded their fanfare. On a litter born by two guards, the great work, shrouded by a scarlet cloth embroider ed with the arms of the king, entered the gallery, the artist following behind. Reaching the king's presence, the guards stopped and the artist himself lifted the veiled object off the litter and placed it on the table in front of the king. He bowed deeply and said, "Majesty ."

Reaching across the table the king pulled off the cover.

A gasp went through the hall. There in front of the king was the most extraordinary object anyone had ever seen. Not much larger than the stuffed pheasant that had just been on the same spot, stood a sculpture of silver and gold and jewels and ena mels. The king smiled, reached out to the object and looking up at the artist, gave him permission to speak.

"Majesty," began the artist, his eyes on the floor as etiquette required, "the Holy Scriptures tell us that we are the salt of the earth, and as we are the salt of the earth so much more so is Your Majesty the salt of our existence, the salt of the salt. This assembly, this salt cellar, is my stumbling monument to the splendor of Your Majesty and the magnificence of your reign."

The artist glanced up at the king. The king nodded for him to go on.

"The base is black ebony, the hardest and most precious of all woods, carried here from beyond the deserts of Africa. Here, in purest gold, reclines Neptune, the god of the sea, and there, Ceres, the goddess of the earth, their legs intertwined because it is from their intercourse that salt comes to be mined deep in the earth."

The king's eyes sparkled at the artist's clever indecency. The artist, emboldened, went on.

"Neptune rides the hippocampus upon a sea blue with crushed lapis lazuli. Ceres reclines on a bed made of an emerald stolen from the crown of the Emperor of the East, shattered and ground into a paste. Note, Your Majesty the salt in this golden boat that nestles at Jupiter's thigh while next to Ceres is a jeweled temple to Venus ; press the little button and you will find spices within."

There were muffled giggles in the court as the artist sprung open the lid of the temple and the smell of pepper came across the table. He continued:

"The four winds and the four elements grace the base and here pearls, like tiny moons, play in the waters. Here a ll creation gathers to proclaim Your Majesty's glory "

The artist described the ten thousand gold florins that went through the fire to make the saltcellar, the tiny ivory carvings, the way in which the enamels were col ored and the elaborate mythologies of the figures on the temple. The court listened, hushed, increasingly transfixed by the magnificence of the artist's saltcellar, shimmering like a second golden sun in the light of the thousand candles.

Through the artist's speech, the king stroked the saltcellar, tenderly following the supline contours of the deities, the head of the hippocampus, the arches of the temple, the sweep of the ebony base. But he looked to be far away, deep in his own thoughts. Eventually noticing the king's inattention, the artist trailed off into a nervous silence.

After what seemed like a very long time, the king whispered slowly , almost to himself: "Mon petit artiste, vous vous êtes surpassé "

Wild applause and cheers erupted in the court. The artist, flushed with triumph, bowed low before the king.

But immediately the king raised his hand and the court was silenced.

"Yes, my little artist" the king said, now much louder, "you have surpassed yourself."

He paused, and continued, now more softly.

"Long ago," the king said, looking at the saltcellar and slowly stroking the thigh of the golden Ceres, "when we were young we brought to our kingdom the first jewel of our realm. He was of your own city but very old and very frail and in need of sanctuary. We gave him a house of his own near the court where, when his strength allowed, he could continue to paint and to draw and to work on the little machines that so fascinated him. And when it pleased us we would visit him, and sometimes with our own hands bring the bowl of soup to his mouth."

With a finger, the king pressed down the lid of the little temple that artist had sprung open earlier.

"On one such visit, near his end, the old man, this jewel of our court, made a great fuss of taking us to a trunk that he summoned a servant to unlock. And, bending down, there at the bottom, wreathed in straw and shrouded in linen, he lifted out this."

The king nodded and at his signal a servant placed on the table in front of him a small object, no larger than two fists, covered with a linen cloth. Removing the cloth the king picked the object up, turning it over in his hands.

It was a horse. Rearing on his hind legs, his neck twisted, his mouth open in a mute whinny. The little statue was grey and plain but volcanic in its compressed energy.

Holding the horse before him, and speaking more to the statue than to artist or the court, the king continued: "The great dukes of our rival kingdom had required a monument as immense as their arrogance and for years the old artist labored to satisfy their folly. He would produce a bronze stallion, he promised them: strong, beautiful, and huge as a chapel. And he prepared pages and pages of drawings, sketching out the monument from every angle and in every detail. He designed the machinery that would be required to cast the stallion and more machinery to transport the finished bronze from the foundry to the center of their city where it would stand in front of the great duomo. The horse became a passion, a kind of madness for him, and for years he poured his life into the project."

The king went on: "But we humbled those dukes and despoiled their lands, and the monument to their pride was never cast. All that came of those years of effort were drawings, and this little statue that we can hold in our hands, cast in brass."

The king watched the candlelight softly glance off the sides of the statue as he turned it in his hands. He looked up at the artist.

"This" he said, now loudly so that his words echoed through the gallery, "is our greatest treasure, greater than the islands of the sea or the throne of our kingdom or the bones of the holy saints. It is as sublime as the cosmos yet look; we hold it in our hand. Mark us carefully, petit artiste. It is in the character of the thing itself that splendor lies, not in its golden garments or silver trimmings or fantastic tales of nativity. The priests tell us that God made man out of dust and breath. Perhaps. But we know that the old artist made this stallion out of flame and wax and brass."

He looked at the saltcellar and back at the horse in his hand, and at the saltcellar and back again at the horse. And then at the artist, standing before him.

"Little artist," the king whispered, leaning across the table to the artist and holding the horse in front of him, "little artist, a clever ass can astound with pearls and crushed emeralds, silver and ivory, ebony and gold. But can you create splendor out of brass?"

The Artist Who Created Works of Perfection

There was once an artist who created works of perfection.

"It is finished." The whisper was more of a foggy moan than a string of words, more gesture than syntax.

Finished. He sat down on the scaffold's top step, his joints aching. After a long, heavy silence, slowly he opened his hand, the worn rasp slipping across his palm. He watched it bounce across the stone floor, the clanks echoing off the stone walls. He looked up. Startled from their sleep by the sudden noise the swallows filled the rafters with a riot of protest, the ir shadows cast by the flickering lantern doubling the tumult. He smiled faintly. They had b een his most faithful colleagues, these swallows, here in this stable a long dead pope had given him for a studio. Daily he forced his will upon stone and stucco and daily they built their nests out of mud and straw. Now tonight, after decades of toiling together, they flapped and chirped their lauds for his latest masterpiece. Yes, he thought, they knew.

Thirty-six hands high and carved out of the finest light grey dolomite, the statue lo omed over the studio's tossed detritus. The cathedral chapter had wanted an Adam for their facade, an Adam before The Fall, before God's summary act of creation was marred by pride and faithlessness and knowledge too high for him, an Adam of memory like the Adam of hope: washed, redeemed, and pulsating with life everlasting.

So the sculptor had gone to the mountain and chosen the quarry's finest stone, and supervised its extraction, driving in the wooden wedges himself, not trusting even the finest quarryman to strike the right blows.

And he had tied the knots that lashed the block to the cart and whipped the oxen who pulled it down the mountain and cursed the sailors who wrestled it on the bergatin and he did it all again when the boat moored in the city's harbor, resting only when the block was set up in his studio and shackled to the scaffold: tall, rough, insolent, like a tribal god.

For three years he hammered away that insolence, rasping it, drilling it, polishing it, forcing the block to yield to his will. Now he stood, took the lantern and, holding it up to the figure, watched as its flame transformed the moonlit stone into an almost living amber, caressing gastrocenemius, biceps femoris, tensor fasciae, serratus anterior, biceps brachii, pectoralis major, deltoid, trapezius, sternocleidomastoid, the light brushing gently across the statue's face and disappearing up into the rafters. Yes.

It was finished. Perfect.

This was not a boast, this "perfect." It was a statement of fact, like saying that the Duke of Mantua was fat or that the baker in the Plaza Venezia was a cheat, weighting his scales. And it was not merely saying that the figure's anatomy was right, although it was, the relationship between skin and muscle, muscle and vein, vein and bone, was exact, not approximant; hours spent cutting apart the corpses of men freshly beheaded or fished bloated and rotting from the Arno, had taught him that. And it was not merely saying that the statue was stunningly beautiful, although it was; long ago the sculptor had stopped distinguishing in his mind whether he was carving an Adam or an Adonis or an Apollo; in beauty they were all one in the same. No, this "perfect" lay in these things together, and in the proportions of the figure and in the virtuosity with which those proportions echoed themselves, and in the daring of the sculptor's contrapposto the counterpoint between the turned head, the rotated shoulders, the twisted hips: a spiral of bestial energy that was none the less faultlessly engineered into a figure of complete physical stability, Dionysius and Apollo shackled together. Change any one aspect of the figure, alter the rotation of the torso by two degrees, lengthen a forearm by a half inch, substitute a riffle for a flat chisel and the p lay of light upon the stone would be spoiled or the figure's proportions marred or its stability weakened. Yes, it was perfect.

The sculptor put the lamp down on the floor of the scaffold's platform and, turning from the statue, looked across the studio. Fragments of cartoons for the great frescos battles, executions, floods, sibyls nailed here and there on the walls hung grey in the wane light

like strips of shrouds. In the corners, pilled with rags scabbed with dried paint and mortors abused by pestles and stumps of broken furniture, lay remnants of marquettes of sculptures finished in stone and bronze: prophets and prophetesses, kings, popes, slaves and madonnas. All Christendom had gasped in astonishment at each new creation and the astonishment was warranted. Perfection, wrestled from each piece at the greatest personal cost, was all he allowed. Yes, this statue now behind him was perfect. But so were all the rest.

His gaze stopped on a trash heap in a distant corner and on a jerkin crumpled across a marquette of a Madonna. And he remembered He threw it there after he had torn it off the boy. Years ago, at a time when he still used them, one of his fool assistants had brought him in off the street, hiring him to fetch and clean. The boy was lively and cheerful and eager to please and the assistants and people in the square grew to love him. One afternoon he was clowning with the sculptor now didn't remember who the boy tripped and fell across a table that held a bowl of ultramarine powder, just ground and sifted from lapis lazuli, carried to Rome from central Asia, a priceless gift of the pope. The powder sprayed across the room and was lost in the straw on the floor. Cursing the boy, the artist flew across the studio and ripping the jerkin off his back began to beat him, hammering and kicking him across the studio's stone floor. When his rage was sated, the artist went back to work, leaving the boy in a mute heap, crumpled in a corner.

The boy was not in the studio the next day, or the next. He was never at the studio again. The artist came across his torn jerkin on the floor and tossed it on a trash heap, giving the

boy no more thought, focusing with all his might upon his important work at hand. The work that he would wrestle into perfection.

Now, in the play of shadows and light, he looked the jerkin. And remembered.

He sat again on the scaffold 's top step, the lantern, now much dimmer, beside him. In the growing darkness he cradled his head in his hands and closing his eyes saw in the starless night of his memory all those perfect works parading before him or rather he was paraded before them. From jury benches on cath edral facades and palace walls, chapel vaults and garden plinths, they gazed at him, coldly. In a pianissimo unison they again whispered their verdict, the verdict he had heard since finishing his earliest works :

"We are perfect. You are not."

It was always the same.

"We are perfect. You are not."

Scattered across the studio, among the rags and straw and litter, w ere metals struck by the emperor and proclamations by princes and letters from cardinals and abbots and popes, epideictics by poets, all commemorating the artist's accomplishments and praising his genius, lauding his works of perfection. And doubtlessly these popes and princes and poets thought that the artist took pride in his accomplishments, that he had a great sense of satisfaction when he finished each and that, as well as fame and t heir praises -- and their gold the masterpieces brought him a joy deeper and more radiant than that possible for less gifted mortals.

But they were mistaken. The completion of a work brought him no joy, no exultation, no triumph of accomplishment, only a greater weariness and sharper pain. Like a one more lash added to a cat-o'-nine, the new work took its place with the old, adding its voice to their choral refrain:

"We are perfect. You are not."

"We are beautiful. You grow ugly. We are true. You are false. We are forever young and hard and strong, we are as eternal as the mountains from which we came. You grow old and weak. Soft, stupid, and you will vanish into the grave. Gaze upon us. Look back at you."

"We are perfect. You are not."

His once strong hands were twisted, scabbed and weak. His ageing bent body hung soft upon his bones, his teeth rotted and his breeches damp with piss. He had schemed for his

own successes, prayed for the miscarriage of his rival's projects , and rejoiced when their frescos crumbled off the wall. He had cheated vend ors and smiled secretly at his clever

deceptions He had humiliated assistants whose only fault had been not to be as gifted as he, and cursed many who only wished him well. He had beaten that sweet boy, and enjoyed the feel of his boot upon his body. His art stood before him as an incorruptible witness not to his genius but to his depravity, its perfection a template against which his life could not but be found distorted, misshapen, wanting, pathetic.

"From linen and wood and clay and stone and metal you have shaped us into works of complete perfection," they whispered before him. " We are your creations, the fruit of your heart's imagination and your hands' labors. But from that same heart's imagination and handiwork you have birthed and nursed and husbanded cruelties, centrifuges, lies, envies, seductions and rapes. You have made us, base, lifeless things, perfect yet you are utterly unable to make yourself, a living thing, a real thing, anything other than miserably ordinary ”

“We are perfect. You are not."

Wordlessly, on the authority of their mere existence, once again as they had done so many times before they passed judgment, a judgment he had authored and re-authored and re-authored again himself: damned. He was always damned.

Eyes shut tightly, his fists full of hair, the artist groaned against a God w ho allowed him to create beauty only that it might display his own ugliness and compound his misery, the kind of God who would drive Adam out of Eden yet render him incapable of forgetting paradise.

He opened his eyes and laughed a hollow laugh. Yes, it was a cruel God, a vengeful God, the kind of God who would beat a boy for innocently squandering the color of heaven. He stood and looked up into the rafters at the swallows, quiet now. Yes, they knew. His assistants had wanted them driven away but the artist always refused, they belonged here, with him

He took one of the ropes that had been lashed to the block in the mountain quarry and casually tossed it over the rafter above him. Taking the end, he quickly tied a knot and pulled the rope taught, testing its strength against the beam. With the other end he wove a noose. He looked down from the scaffold over the studio, at the jerkin heaped in the far corner, at the cartoons nailed to the walls, at the rasp below him on the stone floor, and finally at the great Adam-Adonis-Apollo, rising up beside him.

Yes. It was finished. As the first rays of the sun warmed the stone the sculptor thought that the great figure turned, every so slightly, and looked into him.

"I am perfect. You are not."

The artist nodded. As he stepped off the scaffold's platform the swallows rose to greet the dawn, flapping and chirping and shitting their applause.

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