interrupt me, mother, for what I felt was a pure emotion and no sin— I know that it was because I was myself so full of love, that I was enabled to inspire the very stone with love. At last I had no peace, and even without my father's orders I must have returned home; then I saw her again, and found her even more lovely than the image which reigned in my soul. I heard her voice, and her silvery bell-like laughter—and then— and then—. You know very well what I learned yesterday. The unworthy wife of an unworthy husband, the woman Sirona, is gone from me for ever, and I was striving to drive her image from my soul, to annihilate it and dissipate it—but in vain! and by degrees a wonderful stress of creative power came upon me. I hastily placed the lamps, took the clay in my hand, and feature by feature I brought forth with bitter joy the image that is deeply graven in my heart, believing that thus I might be released from the spell. There is the fruit which was ripened in my heart, but there, where it so long has dwelt, I feel a dismal void, and if the husk which so long tenderly enfolded this image were to wither and fall asunder, I should not wonder at it.—To that thing there clings the best part of my life."
"Enough!" exclaimed Dorothea, interrupting her son who stood before her in great agitation and with trembling lips. "God forbid that that mask there should destroy your life and soul. I suffer nothing impure within my house, and you should not in your heart. That which is evil can never more be fair, and however lovely the face there may look to you, it looks quite as repulsive to me when I reflect that it probably smiled still more fascinatingly on some strolling beggar. If the Gaul brings her back I will turn her out of my house, and I will destroy her image with my own hands if you do not break it in pieces on the spot."
Dorothea's eyes were swimming in tears as she spoke these words. She had felt with pride and emotion during her son's speech how noble and high- minded he was, and the idea that this rare and precious treasure should be spoilt or perhaps altogether ruined for the sake of a lost woman, drove her to desperation, and filled her motherly heart with indignation.
Firmly resolved to carry out her threat she stepped towards the figure, but Polykarp placed himself in her way, raising his arm imploringly to defend it, and saying, "Not to-day—not yet, mother! I will cover it up, and will not look at it again till to-morrow, but once—only once—I must see it again by sunlight."
"So that to-morrow the old madness may revive in you!" cried Dorothea.
"Move out of my way or take the hammer yourself."
"You order it, and you are my mother," said Polykarp.
He slowly went up to the chest in which his tools and instruments lay, and bitter tears ran down his cheeks, as he took his heaviest hammer in his hand.
When the sky has shown for many days in summer-blue, and then suddenly the clouds gather for a storm, when the first silent but fearful flash with it noisy but harmless associate the thunder-clap has terrified the world, a second and third thunder-bolt immediately follow. Since the stormy night of yesterday had broken in on the peaceful, industrious, and monotonous life by the senator's hearth, many things had happened that had filled him and his wife with fresh anxiety.
In other houses it was nothing remarkable that a slave should run away, but in the senator's it was more than twenty years since such a thing had occurred, and yesterday the goat-herd Miriam had disappeared. This was vexatious, but the silent sorrow of his son Polykarp was a greater anxiety to Petrus. It did not please him that the youth, who was usually so vehement, should submit unresistingly and almost indifferently to the Bishop Agapitus, who prohibited his completing his lions. His son's sad gaze, his crushed and broken aspect were still in his mind when at last he went to rest for the night; it was already late, but sleep avoided him even as it had avoided Dorothea. While the mother was thinking of her son's sinful love and the bleeding wound in his young and betrayed heart, the father grieved for Polykarp's baffled hopes of exercising his art on a great work and recalled the saddest, bitterest day of his own youth; for he too had served his apprenticeship under a sculptor in Alexandria, had looked up to the works of the heathen as noble models, and striven to form himself upon them. He had already been permitted by his master to execute designs of his own, and out of the abundance of subjects which offered themselves, he had chosen to model an Ariadne, waiting and longing for the return of Thescus, as a symbolic image of his own soul awaiting its salvation. How this work had filled his mind! how delightful had the hours of labor seemed to him!—when, suddenly, his stern father had come to the city, had seen his work before it was quite finished, and instead of praising it had scorned it; had abused it as a heathen idol, and had commanded Petrus to return home with him immediately, and to remain there, for that his son should be a pious Christian, and a good stone-mason withal—not half a heathen, and a maker of false gods.
Petrus had much loved his art, but he offered no resistance to his father's orders; he followed him back to the oasis, there to superintend the work of the slaves who hewed the stone, to measure granite-blocks for sarcophagi and pillars, and to direct the cutting of them. His father was a man of steel, and he himself a lad of iron, and when he saw himself compelled to yield to his father and to leave his master's workshop, to abandon his cherished and unfinished work and to become an artizan and mail of business, he swore never again to take a piece of clay in his hand, or to wield a chisel. And he kept his word even after his fathers death; but his creative instincts and love of art continued to live and work in him, and were transmitted to his two sons.
Antonius was a highly gifted artist, and if Polykarp's master was not mistaken, and if he himself were not misled by fatherly affection, his second son was on the high road to the very first rank in art—to a position reached only by elect spirits.
Petrus knew the models for the Good Shepherd and for the lions, and declared to himself that these last were unsurpassable in truth, power, and majesty. How eagerly must the young artist long to execute them in hard stone, and to see them placed in the honored, though indeed pagan, spot, which was intended for them. And now the bishop forbade him the work, and the poor fellow might well be feeling just as he himself had felt thirty years ago, when he had been commanded to abandon the immature first-fruits of his labor.
Was the bishop indeed right? This and many other questions agitated the sleepless father, and as soon as he heard that his wife had risen from her bed to go to her son, whose footsteps he too could hear overhead, he got up and followed her.
He found the door of the work-room open, and, himself unseen and unheard, he was witness to his wife's vehement speech, and to the lad's justification, while Polykarp's work stood in the full light of the lamps, exactly in front of him.
His gaze was spell-bound to the mass of clay; he looked and looked, and was not weary of looking, and his soul swelled with the same awe-struck sense of devout admiration that it had experienced, when for the first time, in his early youth, he saw with his own eyes the works of the great old Athenian masters in the Caesareum.
And this head was his son's work!
He stood there greatly overcome, his hands clasped together, holding his breath till his mouth was dry, and swallowing his tears to keep them from falling. At the same time he listened with anxious attention, so as not to lose one word of Polykarp's.
"Aye, thus and thus only are great works of art begotten," said he to himself, "and if the Lord had bestowed on me such gifts as on this lad, no father, nay, no god, should have compelled me to leave my Ariadne unfinished. The attitude of the body was not bad I should say—but the head, the face—Aye, the man who can mould such a likeness as that has his hand and eye guided by the holy spirits of art. He who has done that head will be praised in the latter days together with the great Athenian masters—and he-yes, he, merciful Heaven! he is my own beloved son!"
A blessed sense of rejoicing, such as he had not felt since his early youth, filled his heart, and Dorothea's ardor seemed to him half pitiful and half amusing.
It was not till his duteous son took the hammer in his hand, that he stepped between his wife and the bust, saying kindly:
"There will be time enough to-morrow to destroy the work. Forget the model, my son, now that you have taken advantage of it so successfully. I know of a better mistress for you—Art—to whom belongs everything of beauty that the Most High has created—In Art in all its breadth and fulness, not fettered and narrowed by any Agapitus."
Polykarp