The Hidden Masterpiece

CHAPTER I

On a cold morning in December, towards the close of the year 1612, a young man, whose clothing betrayed his poverty, was standing before the door of a house in the Rue des Grands-Augustine, in Paris. After walking to and fro for some time with the hesitation of a lover who fears to approach his mistress, however complying she may be, he ended by crossing the threshold and asking if Maitre Francois Porbus were within. At the affirmative answer of an old woman who was sweeping out one of the lower rooms the young man slowly mounted the stairway, stopping from time to time and hesitating, like a newly fledged courier doubtful as to what sort of reception the king might grant him.

When he reached the upper landing of the spiral ascent, he paused a moment before laying hold of a grotesque knocker which ornamented the door of the atelier where the famous painter of Henry IV. – neglected by Marie de Medicis for Rubens – was probably at work. The young man felt the strong sensation which vibrates in the soul of great artists when, in the flush of youth and of their ardor for art, they approach a man of genius or a masterpiece. In all human sentiments there are, as it were, primeval flowers bred of noble enthusiasms, which droop and fade from year to year, till joy is but a memory and glory a lie. Amid such fleeting emotions nothing so resembles love as the young passion of an artist who tastes the first delicious anguish of his destined fame and woe, – a passion daring yet timid, full of vague confidence and sure discouragement. Is there a man, slender in fortune, rich in his spring-time of genius, whose heart has not beaten loudly as he approached a master of his art? If there be, that man will forever lack some heart-string, some touch, I know not what, of his brush, some fibre in his creations, some sentiment in his poetry. When braggarts, self-satisfied and in love with themselves, step early into the fame which belongs rightly to their future achievements, they are men of genius only in the eyes of fools. If talent is to be measured by youthful shyness, by that indefinable modesty which men born to glory lose in the practice of their art, as a pretty woman loses hers among the artifices of coquetry, then this unknown young man might claim to be possessed of genuine merit. The habit of success lessens doubt; and modesty, perhaps, is doubt.

Worn down with poverty and discouragement, and dismayed at this moment by his own presumption, the young neophyte might not have dared to enter the presence of the master to whom we owe our admirable portrait of Henry IV., if chance had not thrown an unexpected assistance in his way. An old man mounted the spiral stairway. The oddity of his dress, the magnificence of his lace ruffles, the solid assurance of his deliberate step, led the youth to assume that this remarkable personage must be the patron, or at least the intimate friend, of the painter. He drew back into a corner of the landing and made room for the new-comer; looking at him attentively and hoping to find either the frank good-nature of the artistic temperament, or the serviceable disposition of those who promote the arts. But on the contrary he fancied he saw something diabolical in the expression of the old man’s face, – something, I know not what, which has the quality of alluring the artistic mind.

Imagine a bald head, the brow full and prominent and falling with deep projection over a little flattened nose turned up at the end like the noses of Rabelais and Socrates; a laughing, wrinkled mouth; a short chin boldly chiselled and garnished with a gray beard cut into a point; sea-green eyes, faded perhaps by age, but whose pupils, contrasting with the pearl-white balls on which they floated, cast at times magnetic glances of anger or enthusiasm. The face in other respects was singularly withered and worn by the weariness of old age, and still more, it would seem, by the action of thoughts which had undermined both soul and body. The eyes had lost their lashes, and the eyebrows were scarcely traced along the projecting arches where they belonged. Imagine such a head upon a lean and feeble body, surround it with lace of dazzling whiteness worked in meshes like a fish-slice, festoon the black velvet doublet of the old man with a heavy gold chain, and you will have a faint idea of the exterior of this strange individual, to whose appearance the dusky light of the landing lent fantastic coloring. You might have thought that a canvas of Rembrandt without its frame had walked silently up the stairway, bringing with it the dark atmosphere which was the sign-manual of the great master. The old man cast a look upon the youth which was full of sagacity; then he rapped three times upon the door, and said, when it was opened by a man in feeble health, apparently about forty years of age, “Good-morning, maitre.”

Porbus bowed respectfully, and made way for his guest, allowing the youth to pass in at the same time, under the impression that he came with the old man, and taking no further notice of him; all the less perhaps because the neophyte stood still beneath the spell which holds a heaven-born painter as he sees for the first time an atelier filled with the materials and instruments of his art. Daylight came from a casement in the roof and fell, focussed as it were, upon a canvas which rested on an easel in the middle of the room, and which bore, as yet, only three or four chalk lines. The light thus concentrated did not reach the dark angles of the vast atelier; but a few wandering reflections gleamed through the russet shadows on the silvered breastplate of a horseman’s cuirass of the fourteenth century as it hung from the wall, or sent sharp lines of light upon the carved and polished cornice of a dresser which held specimens of rare pottery and porcelains, or touched with sparkling points the rough-grained texture of ancient gold-brocaded curtains, flung in broad folds about the room to serve the painter as models for his drapery. Anatomical casts in plaster, fragments and torsos of antique goddesses amorously polished by the kisses of centuries, jostled each other upon shelves and brackets. Innumerable sketches, studies in the three crayons, in ink, and in red chalk covered the walls from floor to ceiling; color-boxes, bottles of oil and turpentine, easels and stools upset or standing at right angles, left but a narrow pathway to the circle of light thrown from the window in the roof, which fell full on the pale face of Porbus and on the ivory skull of his singular visitor.

The attention of the young man was taken exclusively by a picture destined to become famous after those days of tumult and revolution, and which even then was precious in the sight of certain opinionated individuals to whom we owe the preservation of the divine afflatus through the dark days when the life of art was in jeopardy. This noble picture represents the Mary of Egypt as she prepares to pay for her passage by the ship. It is a masterpiece, painted for Marie de Medicis, and afterwards sold by her in the days of her distress.

“I like your saint,” said the old man to Porbus, “and I will give you ten golden crowns over and above the queen’s offer; but as to entering into competition with her – the devil!”

“You do like her, then?”

“As for that,” said the old man, “yes, and no. The good woman is well set-up, but – she is not living. You young men think you have done all when you have drawn the form correctly, and put everything in place according to the laws of anatomy. You color the features with flesh-tones, mixed beforehand on your palette, – taking very good care to shade one side of the face darker than the other; and because you draw now and then from a nude woman standing on a table, you think you can copy nature; you fancy yourselves painters, and imagine that you have got at the secret of God’s creations! Pr-r-r-r! – To be a great poet it is not enough to know the rules of syntax and write faultless grammar. Look at your saint, Porbus. At first sight she is admirable; but at the very next glance we perceive that she is glued to the canvas, and that we cannot walk round her. She is a silhouette with only one side, a semblance cut in outline, an image that can’t turn nor change her position. I feel no air between this arm and the background of the picture; space and depth are wanting. All is in good perspective; the atmospheric gradations are carefully observed, and yet in spite of your conscientious labor I cannot believe that this beautiful body has the warm breath of life. If I put my hand on that firm, round throat I shall find it cold as marble. No, no, my friend, blood does not run beneath that ivory skin; the purple tide of life does not swell those veins, nor stir those fibres which interlace like net-work below the translucent amber of the brow and breast. This part palpitates with life, but that other part is not living; life and death jostle each other in every detail. Here, you have a woman; there, a statue; here again, a dead body. Your creation is incomplete. You have breathed only a part of your soul into the well-beloved work. The torch of Prometheus went out in your hands over and over again; there are several parts of your painting on which the celestial flame never shone.”

“But why is it so, my dear master?” said Porbus humbly, while the young man could hardly restrain a strong desire to strike the critic.

“Ah! that is the question,” said the little old man. “You are floating between two systems, – between drawing and color, between the patient phlegm and honest stiffness of the old Dutch masters and the dazzling warmth and abounding joy of the Italians. You have tried to follow, at one and the same time, Hans Holbein and Titian; Albrecht Durier and Paul Veronese. Well, well! it was a glorious ambition, but what is the result? You have neither the stern attraction of severity nor the deceptive magic of the chiaroscuro. See! at this place the rich, clear color of Titian has forced out the skeleton outline of Albrecht Durier, as molten bronze might burst and overflow a slender mould. Here and there the outline has resisted the flood, and holds back the magnificent torrent of Venetian color. Your figure is neither perfectly well painted nor perfectly well drawn; it bears throughout the signs of this unfortunate indecision. If you did not feel that the fire of your genius was hot enough to weld into one the rival methods, you ought to have chosen honestly the one or the other, and thus attained the unity which conveys one aspect, at least, of life. As it is, you are true only on your middle plane. Your outlines are false; they do not round upon themselves; they suggest nothing behind them. There is truth here,” said the old man, pointing to the bosom of the saint; “and here,” showing the spot where the shoulder ended against the background; “but there,” he added, returning to the throat, “it is all false. Do not inquire into the why and wherefore. I should fill you with despair.”

The old man sat down on a stool and held his head in his hands for some minutes in silence.

“Master,” said Porbus at length, “I studied that throat from the nude; but, to our sorrow, there are effects in nature which become false or impossible when placed on canvas.”

“The mission of art is not to copy nature, but to represent it. You are not an abject copyist, but a poet,” cried the old man, hastily interrupting Porbus with a despotic gesture. “If it were not so, a sculptor could reach the height of his art by merely moulding a woman. Try to mould the hand of your mistress, and see what you will get, – ghastly articulations, without the slightest resemblance to her living hand; you must have recourse to the chisel of a man who, without servilely copying that hand, can give it movement and life. It is our mission to seize the mind, soul, countenance of things and beings. Effects! effects! what are they? the mere accidents of the life, and not the life itself. A hand, – since I have taken that as an example, – a hand is not merely a part of the body, it is far more; it expresses and carries on a thought which we must seize and render. Neither the painter nor the poet nor the sculptor should separate the effect from the cause, for they are indissolubly one. The true struggle of art lies there. Many a painter has triumphed through instinct without knowing this theory of art as a theory.

“Yes,” continued the old man vehemently, “you draw a woman, but you do not see her. That is not the way to force an entrance into the arcana of Nature. Your hand reproduces, without an action of your mind, the model you copied under a master. You do not search out the secrets of form, nor follow its windings and evolutions with enough love and perseverance. Beauty is solemn and severe, and cannot be attained in that way; we must wait and watch its times and seasons, and clasp it firmly ere it yields to us. Form is a Proteus less easily captured, more skilful to double and escape, than the Proteus of fable; it is only at the cost of struggle that we compel it to come forth in its true aspects. You young men are content with the first glimpse you get of it; or, at any rate, with the second or the third. This is not the spirit of the great warriors of art, – invincible powers, not misled by will-o’-the-wisps, but advancing always until they force Nature to lie bare in her divine integrity. That was Raphael’s method,” said the old man, lifting his velvet cap in homage to the sovereign of art; “his superiority came from the inward essence which seems to break from the inner to the outer of his figures. Form with him was what it is with us, – a medium by which to communicate ideas, sensations, feelings; in short, the infinite poesy of being. Every figure is a world; a portrait, whose original stands forth like a sublime vision, colored with the rainbow tints of light, drawn by the monitions of an inward voice, laid bare by a divine finger which points to the past of its whole existence as the source of its given expression. You clothe your women with delicate skins and glorious draperies of hair, but where is the blood which begets the passion or the peace of their souls, and is the cause of what you call ‘effects’? Your saint is a dark woman; but this, my poor Porbus, belongs to a fair one. Your figures are pale, colored phantoms, which you present to our eyes; and you call that painting! art! Because you make something which looks more like a woman than a house, you think you have touched the goal; proud of not being obliged to write “currus venustus” or “pulcher homo” on the frame of your picture, you think yourselves majestic artists like our great forefathers. Ha, ha! you have not got there yet, my little men; you will use up many a crayon and spoil many a canvas before you reach that height. Undoubtedly a woman carries her head this way and her petticoats that way; her eyes soften and droop with just that look of resigned gentleness; the throbbing shadow of the eyelashes falls exactly thus upon her cheek. That is it, and – that is not it

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