Romola · Chapter
XVIII: The Portrait explained
Tito, relieved after escaping the threat of Baldassarre, reflects on his recent deceptions, including selling his ring and his encounter with Tessa.
What happens
Tito, relieved after escaping the threat of Baldassarre, reflects on his recent deceptions, including selling his ring and his encounter with Tessa. He resolves to avoid further entanglements and decides to commission a painting from Piero di Cosimo to account for the ring's absence and to distract Romola from monkish fancies. Visiting Piero's studio, Tito sees a sketch the artist has made of him, which portrays him with an expression of intense fear. Piero explains he painted Tito's face because it expresses fear well, and he plans to finish the piece by adding a ghost. Tito, unnerved by the image, maintains his composure and arranges for the commission of a triptych depicting the triumph of Bacchus and Ariadne.
Themes in this chapter
Betrayal and Deception
Tito's internal monologue reveals his ongoing deception regarding the ring and Tessa, and his desire to maintain his facade before Romola.
Knowledge and Erudition
The chapter highlights the use of classical sources, like Ovid, for artistic inspiration, and the intellectual culture of Renaissance Florence.
Characters to notice
- Tito Melema
Feels exultant at being free from the threat of Baldassarre, but is haunted by a portrait that reveals his hidden fear.
- Piero di Cosimo
The eccentric artist who has painted Tito's portrait, capturing his fear, and who is commissioned to create a Bacchus and Ariadne triptych.
- Romola de' Bardi
Though not present, Tito's thoughts are occupied with her, as he plans to use the commissioned artwork to guard her mind from monkish fancies.
- Tessa
Tito briefly considers the consequences of his deception on Tessa, but ultimately decides to leave the matter to time and chance.
Key passages
“He was well out of the possible consequences that might have fallen on him from that initial deception, and it was no longer a load on his mind; kind fortune had brought him immunity, and he thought it was only fair that she should.”
Tito felt lucky to have escaped the consequences of his lie about the ring and believed he deserved this good fortune.
This shows Tito's self-serving rationalization and his lack of guilt over his actions.
“I call this as good a bit of portrait as I ever did... Yours is a face that expresses fear well, because it’s naturally a bright one.”
Piero di Cosimo praises his own portrait of Tito, noting that Tito's naturally cheerful face makes the expression of fear he has captured particularly striking.
This moment reveals Tito's hidden fear to the reader and to himself, as he sees his own terror reflected in the painting.
“I find it enough to live, without spinning lies to account for life. Fowls cackle, asses bray, women chatter, and philosophers spin false reasons—that’s the effect the sight of the world brings out of them.”
Piero di Cosimo declares that he has no interest in philosophical explanations for life, comparing philosophers to noisy animals who create false justifications.
This quote contrasts Piero's pragmatic, artistic worldview with the more intellectual or moral concerns of other characters.