Act 1, Scene 1: The Scuola Grande di San Rocco, Venice, Italy, September, 2013.

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Velázquez
Thank you for meeting me here. I have always admired Tintoretto. San Rocco was a revelation for me.


Picasso
This is a magical place. And what a great pleasure to meet Diego Velázquez. (extends his hand, Velázquez mimics the gesture and bows).

Velázquez
The whole interior is stunning, no? Walk with me to the Crucifixion. Ah ... this is like visiting an old friend. I once spent many hours here making studies of this painting.

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I came to San Rocco during my first visit to this country, which at that time was not yet a united Italy of course, and I was immediately enchanted and humbled when I saw Tintoretto's paintings. You know, Rubens had planned to accompany me on that trip. He loves this part of the world, the art and the people. He spent a lot of time in Italy, even called himself Pietro Paolo for many years (thinking of his friend, he smiles). Unfortunately, at that time he had other duties and I made the trip without him. Now there is a great painter. I wonder if he is here in Venice today?

They stroll back toward the centre of the Sala Superiore. In the quiet they hear hushed whispers, the echo of remarks spoken too loudly, and from time to time the clack of leather shoes on the polished floor as other visitors explore the room.

Picasso, examining a panel of the ceiling painting with the help of one of the provided mirrors.
I really don't know; perhaps. Certainly many others have come. Maybe our host will have more answers. Have you enjoyed the Biennale?

Velázquez

I am enjoying the city much more as this mob of tourists departs. September is generally a beautiful month in Italy and I can take my time now to see the various exhibitions of art. There is so much to learn from this festival.

Picasso smiles

Tactfully said. May I assume that, as I do, you find some of the art perplexing?

Velázquez, strolling around the room's perimeter

I am working at understanding it all, but yes, the art ... and the people! As you know, I'm all in favour of effective innovation. So, for the moment, I'm making no judgement about these new art forms. But I have found it almost overwhelming to be in the midst of such a throng, so diverse in language, in race, in religion. It is all difficult to take in. The Church I knew would have this Biennale shut down, and would likely have sponsored more than a few bonfires around the city, for those responsible. Performance pieces, I guess they'd have called them. (laughs)

Picasso, chuckling

No doubt. No doubt. The world has changed a great deal, and the debate continues about which changes have been good, and which bad. What you see here, however, is one of the manifestations of good change, in my opinion. But, as you mention your own work, you should know that Las Meninas was like the open door through which I walked. With that one painting, you left clues that led to solving many of the puzzles of abstraction. There are things I would like to ask you about. I'm sure you know of the important work of Edouard Manet and Paul Cezanne, both of them also inspired by your achievement. With luck we'll see them as well, maybe today or tomorrow.

Velázquez

Ah, you are very kind. Thank you. Your questions are welcome anytime. (smiling broadly) I am aware also of the pervasive influence of a certain Pablo Ruis y Picasso. You, my friend, have changed the nature of painting, and perhaps of all art. I have been studying these changes ... well, and indeed the evolution of painting since my own time. Astonishing and exciting. And in giving considerable attention to your invention of cubism, not forgetting M. Braque of course, I think I can appreciate our mutual fascination with the manipulation of spatial perception. I have some questions of my own for you as well. Today there is bound to be a far greater variety of expression than once would have been tolerated by the church, or the state. And the world – a world both bigger and smaller, I might add – is full of very successful artistic endeavour ... and of course it's also full of a great deal of less successful attempts. But, as you pointed out, my own work was about more than just verisimilitude. In exploring our ideas, we are all, in a sense, on the same path, don't you think?

Picasso appears to reflect on this.

It is such a beautiful day, and Venice is so hypnotically charming. Shall we walk in the sun for a while, perhaps have coffee somewhere?

Slowly they descend the staircase, admiring Tintoretto's work above the handrails on either side, and make their way through the main floor and out into the small campo San Rocco. 

And what about performance art, and video, and installation? What is your reaction there?

Velázquez, raising his eyebrows and audibly exhaling.

Ah. It seems to me that this differs from the kind of thing we have both had experience with in theatrical production. Well ...

As their eyes adjust to the brilliant light, they are warmly greeted by Cezanne and Van Gogh, waving from the steps of the adjacent church, the Chiesa di San Rocco. Van Gogh's severed ear seems to have been restored, as has a modicum of calm sanity – modern pharmaceuticals, perhaps. His eyes are shaded under the brim of a frayed straw hat, the sleeves of his white shirt rolled up in the heat. Introductions are made, and compliments exchanged. Picasso produces a pack of Gauloises, offering cigarettes to the others. Only Velasquez declines, taking a pinch of snuff instead, from an elegant little box.