Monsieur l'Abbaye was a retired master artist commissioned by Senior Bartoli to paint a 20-foot portrait on his banquet hall wall. L'Abbaye insisted on working privately behind a curtain. Over months, L'Abbaye's responses to Bartoli's inquiries about progress emphasized the artistic process over results. When finally revealed, L'Abbaye's cubist-inspired portrait shocked and angered Bartoli for deviating from traditional styles. The early adoption of cubism demonstrated L'Abbaye was born centuries too soon to be appreciated for his avant-garde approach.

2. Anne Carol Moore
 Educator
 Born: July 12, 1871, Limerick, Maine, United States
 Died: January 20, 1961, New York City, New York, United
States
 Education: Pratt Institute
 Books: Nicholas: A Manhattan Christmas Story,
 Awards: John Newbery Medal, Regina Medal

3.  Anne Carol Moore (July 12, 1871 – January
20, 1961)was an American educator, writer and
advocate for children's libraries. She was
named Annie after an aunt, and officially
changed her name to Anne in her fifties,
 1906 to 1941 she headed children's library
services for the New York Public
Library system. Moore wrote Nicholas, A
Manhattan Christmas Story, one of two runners-
up for the 1925 Newbery Medal.

4.  Early life and education 1871–1894
 Moore was born in Limerick, Maine, the
youngest of ten children and the only
surviving daughter of Luther Sanborn and
Sarah Barker Moore.

5.  Carol Moore wrote:-
 Roads to Childhood (1920)
 Nicholas, A Manhattan Christmas
Story (1924)
 My Roads to Childhood (1920)
 Nicholas and the Golden Goose (1924)
 The Three Owls (1924)
 Three Owls (Volume II) (1924)
 Cross-Roads to Childhood (1925)
 Reading for Pleasure (1932)
 A Century of Kate Greenaway (1934)

6.  Revolution runs in my blood: my great-
great-great-great grandfather Col. James
Barrett was head of the militia at Concord
April 19, 1775. (And two great-great-great
grandfathers fought at Concord and at
Lexington as well! (Geneology page to come
one of these days. ) However, having
learned the lessons of successful
revolutions over the last 100 years, I am
committed to nonviolent revolution.

7.  Monsieur Signy l'Abbaye was a master artist
in his day, who was ready to retire in 1392. It
was the month of May. But Guiliano Bartoli, a
rich Italian patron, sent for him saying, "I'd
like a portrait of myself on my banquet room
wall.” It's 20 feet tall."

9. Contemplating this request, Monsieur l'Abbaye shook his
head. "I'm ready to retire, so I'm not available for hire. I'm
sorry. I simply can't paint your portrait." But seeing the
disappointment in Senior Bartoli's eyes, he continued,
"Well, there's a possibility if you can find it in your heart to
allow me to explore the limits of my abilities. Not for
money mind you, but for food and a bed instead.
Furthermore, you need not even pose because my
memory's excellent. Already I can see your portrait and
how to derive it. But I insist, Senior Bartoli, while I work
your portrait it must stays private -- even from you!"

10.  This is strange, thought the patron, but he
also thought about how highly the artist had
been recommended. "Of course," he said
"Anything you wish, but I insist upon paying
you at least something for your effort. Let's
draw up a contract."

11.  Now a glint came to Monsieur l'Abbaye's eyes as he
gazed upon that 20-foot wall and thought of all that space,
such a wonderful place for schemes and things to give
imagination wings. Because, unknown to Senior Bartoli, or
anyone else for that matter, for all of his career (which was
45 years) Monsieur L'Abbaye had yearned to paint in his
own way. And what way was that? Certainly not the style
of Byzantine or of Proto-Renaissance. No. Monsieur Signy
l'Abbaye had hungered to break free of restraints. But
the guild, his craft and livelihood, would never have
allowed it so he followed their rules although never proud
of it. Of course he didn't reveal this to Senior Bartoli.

12.  Signing the contract, they sealed the
agreement.
 Immediately the master artist threw a
high curtain in front of the wall, a curtain
through which Senior Bartoli couldn't see at
all. He tried to peek, but Monsieur l'Abbaye
insisted on total privacy for his artistic
techniques.
 A week passed. "How is it coming?"
asked the hopeful Senior Bartoli.

13.  Answering him from behind the curtain, Monsieur l'Abbaye
said, "It's coming quite well. You know, at the age of eight I
was apprentice to the great Ambrogio Lorenzetti. I could
never dishonor his name. He taught me the art of grinding
pigment, laying plaster, sometimes slowly, sometimes
faster. He taught me how to draw and, most important, not
to hurry. My training was rigorous and
after certification even more vigorous. Senior Bartoli, a
masterpiece... takes a while at least."
 Reluctantly, Senior Bartoli withdrew.
 A month passed. "How is it coming?" Senior Bartoli
asked.

14.  "It's coming well," said Monsieur l'Abbaye, again from
behind the curtain. Along with his words came the strange
sounds of swooshing, clanking and slapping. "You know
you're fortunate it's I painting your portrait. Only
buon fresco will do. It's four coats of lime plaster. First
layer the trullisatio, followed by the arriccio, then the
anenato and finally the intonaco not to mention the part
where I draw. But it's the best plaster process I ever saw.
Senior Bartoli, it will last forever, but alas, it's a time-
consuming endeavor."
 Sighing deeply, the patron again withdrew. Just how
long would this take? Who knew?

15.  Another three, four months passed and finally
half a year went by. Senior Bartoli, the patron,
marched in demanding of Monsieur l'Abbaye,
the master artist, to see his portrait, "You must
be finished by now and today I will see it!" he
shouted, shaking with frustration.
 Stepping from behind the cloth as though
surprised by such anger, Monsieur l'Abbaye
said calmly. "That's fine. You needed only to
request it." And he pulled aside the 20-foot
curtain.

16.  Guiliano Bartoli stood for a minute and then his
mouth fell open, his eyes turned red and he
grabbed what few hairs he had left on his head. He
did a little hop, and then a twitch, and his eyebrows
contorted as though bewitched. Guiliano Bartoli
obviously did not like his portrait, not a bit. Guiliano
Bartoli threw a fit.
 "How absurd, how obscene. What does this
mean? You'll not receive one Florine, do you hear?
You're not an artist, maybe a thief or a madman.
Get out of my sight! You'll leave my house tonight
or I'll throw you out!"

17.  So what had Monsieur l'Abbaye drawn that was
wrong? He couldn't see it, he'd fussed and fixed
for so long. It was his masterpiece. He wasn't
sorry, no, not at all, that he had drawn to his
heart's content for 20 feet tall. No matter what
anybody could say, Monsieur Signy l'Abbaye
had drawn it his way. Perhaps his patron
couldn't tolerate his obsession
with cubist expression, but Picasso would have
been proud.

19.  If truth be told Monsieur l'Abbaye wasn't
crazy, surely. He'd simply been born 500
years too early!

21.  ABOUT THE AUTHOR
 THE STORY
*ABOUT CUBISM AND THE PROTO-
RENAISSANCE

22. Anne Carol Moore
 Educator
 Born: July 12, 1871, Limerick, Maine, United States
 Died: January 20, 1961, New York City, New York, United States
 Education: Pratt Institute
 Books: Nicholas: A Manhattan Christmas Story,
 Awards: John Newbery Medal, Regina Medal

24. Bartoli became disappointed …………………………
“I’m sorry, I don’t think
so. I’m ready for retire
so am not available for
hire.”
“I’d like a portrait of
myself on my banquet
room wall. Could u paint
it, it’s 20-feet tall”

25. "Anything you wish,
but I insist upon
paying you at least
something for your
effort. Let's draw up a
contract."
There’s a possibility if you allow me to
explore the limits of my abilities. Not for
money mind you, but for food and a bed
instead. You need not pose because my
memory is excellent. I can see your
portrait in my mind. But I insist, while I
work your portrait stays private -- even
from you!"

26. 



27. “ How is it coming along”
“It’s coming along quite well. You
know , at the age of eight I was
apprentice to the great Ambrogio
Lorenzetti. I could never
dishonour his name. He taught
me the art of grinding pigment,
laying plaster, sometimes slowly,
sometimes faster. He taught me
how to draw and, most important,
not to hurry.

28. “How is it coming along ??”
"It's coming well. You know
you're fortunate it's I painting
your portrait. Only
buon fresco will do. It's four
coats of lime plaster. But it's
the best plaster process I ever
saw. Senior Bartoli, it will last
forever

29. "You must be finished by
now and today I will see
it!"
"That's fine. You needed
only to request it."

31. "How absurd, You'll not receive
one florine, do you hear? You're
not an artist, maybe a thief or a
madman. Get out of my sight!
You'll leave my house tonight or
I'll throw you out!"

33. Cubism began as an intellectual revolt against the
artistic expression of previous eras. Among the
specific elements abandoned by the cubists were the
sensual appeal of paint texture and color, subject
matter with emotional charge or mood, the play of
light on form, movement, atmosphere, and the
illusionism that proceeded from scientifically based
perspective. To replace these they employed an
analytic system in which the three-dimensional
subject (usually still life) was fragmented and
redefined within a shallow plane or within several
interlocking and often transparent planes.

35. In Italy the Renaissance proper was preceded by an important “proto-
renaissance” in the late 13th and early 14th centuries, which drew
inspiration from Franciscan radicalism. St. Francis had rejected the
formal Scholasticism of the prevailing Christian theology and gone
out among the poor praising the beauties and spiritual value of
nature. His example inspired Italian artists and poets to take pleasure
in the world around them.
Renaissance art, with Renaissance Humanist philosophy, spread
throughout Europe, affecting both artists and their patrons with the
development of new techniques and new artistic sensibilities.
Renaissance art marks the transition of Europe from the medieval
period to the Early modern age.