Romola · Chapter
XXVIII: The Painted Record explained
Romola visits Piero di Cosimo to check on the progress of her father's portrait, but discovers an oil-sketch of Tito with a prisoner that disturbs her.
What happens
Romola visits Piero di Cosimo to check on the progress of her father's portrait, but discovers an oil-sketch of Tito with a prisoner that disturbs her. Despite her curiosity and growing unease, she refrains from questioning Tito, fearing the implications of the painting and the hidden truth it might reveal.
Themes in this chapter
Betrayal and Deception
Piero's attempt to hide the sketch and Romola's internal conflict about questioning Tito highlight the theme of hidden truths and self-deception.
Female Agency and Marriage
Romola's decision not to question Tito reflects the constraints of marriage and her struggle between loyalty and suspicion.
Characters to notice
- Romola de' Bardi
Visits Piero to see her father's portrait, but is unsettled by the sketch of Tito and the prisoner, yet suppresses her suspicions.
- Piero di Cosimo
Shows Romola the unfinished portrait of Bardo, but accidentally reveals the sketch of Tito with the prisoner, which he tries to dismiss as a mere fancy.
- Tito Melema
Though not present, his image in Piero's sketch and the associated fear and armor weigh on Romola's mind.
- Bardo de' Bardi
His portrait as Oedipus is the reason for Romola's visit, symbolizing her devotion and the fading memory of her father.
- Maso
Accompanies Romola to Piero's house, carrying the basket of sweetmeats.
Key passages
“But I know what the sweetmeats are for; they are to stop my mouth while you scold me.”
Piero understands that Romola brought sweets to soften his reaction to her complaints about the unfinished portrait.
Piero's playful acknowledgment of Romola's tactic to appease him.
“It's good, Madonna Antigone.”
Piero compliments Romola by calling her Antigone, referencing her devotion to her blind father, Bardo.
Piero's nickname for Romola, linking her to the mythological figure who guided her blind father.
“I should be sorry for her to guess that I thought her fine husband a good model for a coward.”
Piero hopes Romola doesn't realize that he used Tito as a model for a cowardly figure in his sketch.
Piero's private thought reveals his negative opinion of Tito, which he hides from Romola.