day. Look at this brown, lusty peasant and this beautiful woman--these sleeping nymphs watched by the satyrs--this glorious throng of the blessed and the damned--all this unveiled humanity is living and acting for itself alone, and never dreams whether prudish and pedantic fools are looking on and taking umbrage at it. You know that nothing is really good or bad in itself; it is only the power of thinking about it that makes it so. And these creatures have never troubled themselves with thinking. They are enjoying life fully and overflowingly--like the fat little satyr's wife above there, nursing her twins--or they are absorbed in the sharp struggle for existence. Look at this lion-hunt! Horace Vernet, who wielded no unskillful brush, has painted one too. But just there you can see the contrast between great art and petty art. Here everything is mingled in a raging turmoil, so that there is not a hand's breadth between--here is the very instant of highest conflict, the climax of struggle and defense, fury and death--every muscle strained to its utmost, and everything in such deadly yet triumphant earnest that one trembles and yet is filled with the spirit of victory. For all true strength is full of a certain triumphant joy. But the French picture is like a tableau in a circus, where, in spite of all the grimacing and posturing, there is no real struggle à l'outrance, And look at the purely artistic side; here all the outlines are so melted into one another, so lost in each other in spite of the strongest contrasts, that they necessarily lead the eye into a network from which it cannot escape, where it never has an opportunity to wish for anything else, or indeed to think that anything else is possible. A skillful modern artist, going to work with his patchwork of knowledge on the various subjects, could not possibly produce such a work. You will always find holes and gaps--stiff triangles and hexagons between the legs of the horses, and the figures kept apart as nicely and neatly as though they were going to be packed up in their cases again after it was all over."
He stood a good half hour before the lion-hunt, looking at it as though for the first time. And then, as though tearing himself away with difficulty, he took Felix by the arm and said, "You know I am no mere fanatical doctrinaire. Nobody can have more respect for the other great artists of the golden age. But still it always seems to me as though I did not find, even in the greatest and most immortal of them, a true balance between art and Nature. There is always an excess of technical aim over unaffected seeing and feeling--an excess of 'can' over 'must.' Even with Raphael (whom, it is true, they say one doesn't really know until one has seen his work in Rome), I feel a too great excess of the purely spiritual and abstract over the sensuous. And with the glorious Titian and the Venetians, this paradisaic naturalness, this effortless flow of beauty from an exhaustless soil, this breathing forth of pure and unadulterated force and freedom, is only found in their greatest moments; while this man, like the immortal gods, seems never to have known an hour of poverty or insufficiency."
He talked on in this fashion for some time, as though to pour out his heart before his friend. But just as they were standing before the little picture of Rubens and his beautiful young wife in the garden, walking beside a bed of tulips, they heard Angelica's voice behind them.
"I cannot help it, gentlemen; you must tear yourselves away from this well-fed domestic happiness and these tedious box-hedges, and come with me. I have something to show you that is quite as much a masterpiece of its kind. Please have confidence in my artistic eye for this once, and come quickly, before the miracle disappears again."
"What is this beautiful thing you have discovered, Fräulein?" asked Felix, laughing, "that instantly vanishes again if one is not immediately on the watch?"
"Something that is alive--but hardly according to your taste, as I imagine it," answered the painter. "But our master there--"
"A beautiful woman?"
"Ah! and what a woman! I have followed her about like a young Don Juan ever since we have been here, and looked askance at her as I stood before the pictures. She seems to be a little near-sighted--at least she half shuts her eyelids when she looks intently at anything; and she looks at the upper row of pictures through a lorgnette. A blonde--and a face, I tell you--and a figure!--just what you call Portament, Jansen--the kind of thing that grows much oftener in Trastevere than among our German oaks."
"And why don't you give me credit, too, for enough taste to do this lady justice?" asked Felix.
"Because--well, because you are a trifle young, and--thus far at least--you are not an artist. This beauty of mine is far from being conspicuous or attracting attention--like everything really great. I will wager, Baron, that you find my enthusiasm exaggerated. These polished checks and temples, and the poise of the head on the neck and the neck on the shoulders, and the whole figure--neither too full nor too slender--but hush! I believe she is standing over there at this moment! Yes, it is she--the one in the raw silk, with the broad, somewhat antiquated straw-hat set back upon her head--doesn't it look almost like a halo? Well, Jansen? Do say something! Generally you are so extraordinarily prompt in picking flaws in my ideals."
Jansen had paused, and had coolly turned his quiet, clear gaze upon the lady, who stood, entirely unsuspicious of scrutiny, a few alcoves away from them, and turned her full face toward the observing party. Angelica had not said too much. Her figure was of rare grace and majesty, as her light summer-dress showed its beautiful outlines clearly against the dark background; her head, thrown back a little, hardly moved upon the slender, graceful neck, and her hat allowed its form to be all the more distinctly seen, as she wore her soft, light hair simply parted, and falling in a few curls upon her shoulders. Her face was not striking at first glance; quiet, steel-gray eyes, concealing their brilliancy behind the slightly closed lids; a mouth not exactly full or rosy, but of the most beautiful form and full of character; and a chin and neck worthy of an antique statue. She seemed so completely absorbed in the study of the gallery that she did not look up as the friends approached her. It was only when they entered the alcove, and Angelica began to express her wild admiration (quite secretly, she imagined, but really loud enough to be plainly audible), that the stranger suddenly noticed them. With a slight blush, she drew about her shoulders the white shawl that had hung carelessly about her waist--as though to shield her from these curious eyes--cast an annoyed glance at the whispering painter, and left the alcove.
"See how she moves--a queenly walk!" cried Angelica, looking after her. "But alas! I have driven her away. I like that in her, too, that she is too refined to let herself be stared at. Quant' è bella! But do say something, Jansen! Have you suddenly turned into a statue, or has the enchantment worked too strongly?"
"You may be right, Angelica," said the sculptor, smiling. "I have met this kind of phenomenal being here now and then; and, as they were always strangers (for you never see a native of Munich in the Pinakothek), looking at them was always but a fleeting joy, and I could only gaze after them as they went. So now I have grown cautious. You know 'a burnt child--'"
"Nonsense!" exclaimed the artist. "This divine being may be a stranger, of course, but no one studies the pictures so closely who is looking at them for the first and last time, only to carry out the instructions of her Baedeker. What's to prevent our watching her again? And, even if I lose all to-morrow forenoon over it, and let my group of children dry into the canvas, I must study this exquisite creature once more, and at leisure. There--there she is again! Rosebud is just passing her, and starts back as if he had met the Bella di Tiziano in person! See how he stares after her! He has taste, after all, in spite of his old Swedes."
And now the little battle-painter came hurrying up to his friends, and began to tell them what a discovery he had made. Angelica laughed.
"You come too late, Herr von Rosebud! I am the one to whom belongs the fame of having discovered this comet! But do you know what I have in mind, gentlemen? As none of you seem to be inclined to follow up this adventure, I, as the least suspicious of us four, will take it upon myself to pursue our beauty, and see if I can discover where she lives and who she is. If she stays here but a week, she shall be painted. I have sworn it! And whichever of you is particularly good shall come to the last sitting; and Herr Rosebud hereby receives permission to play her a serenade under my window. Addio, signori! To-morrow you shall hear how the matter turns out."
She nodded hurriedly to the friends, and followed the stranger, who had in the mean time passed through the rooms, and was now preparing to leave the gallery.