Chapter 524

Once he had been invited by a former boon-companion, to accompany him to his ancestral castle, to cheer his sick father; and so it happened that he became a buffoon, wandered from one great lord to another, and finally entered the elector's service.

He liked to pretend that he despised the world and hated men, but this assertion could not be taken literally, and was to be regarded in a general, rather than a special sense, for every beautiful thing in the world kindled eager enthusiasm in his heart, and he remained kindly disposed towards individuals to the end.

When Moor once charged him with this, he said, smiling:

"What would you have? Whoever condemns, feels himself superior to the person upon whom he sits in judgment, and how many fools, like me, fancy themselves great, when they stand on tiptoe, and find fault even with the works of God! 'The world is evil,' says the philosopher, and whoever listens to him, probably thinks carelessly: 'Hear, hear! He would have made it better than our Father in heaven.' Let me have my pleasure. I'm only a little man, but I deal in great things. To criticise a single insignificant human creature, seems to me scarcely worth while, but when we pronounce judgment on all humanity and the boundless universe, we can open our mouths-wonderfully wide!"

Once his heart had been filled with love for a beautiful girl, but she had scornfully rejected his suit and married another. When she was widowed, and he found her in dire poverty, he helped her with a large share of his savings, and performed this kind service again, when the second worthless fellow she married had squandered her last penny.

His life was rich in similar incidents.

In his actions, the queer little man obeyed the dictates of his heart; in his speech, his head ruled his tongue, and this seemed to him the only sensible course. To practise unselfish generosity he regarded as a subtle, exquisite pleasure, which he ventured to allow himself, because he desired nothing more; others, to whom he did not grudge a prosperous career, he must warn against such folly.

There was a keen, bitter expression on his large, thin face, and whoever saw him for the first time might easily have supposed him to be a wicked, spiteful man. He knew this, and delighted in frightening the men and maid-servants at the taverns by hideous grimaces--he boasted of being able to make ninety-five different faces--until the artist's old valet at last dreaded him like the "Evil One."

He was particularly gay in Avignon, for he felt better than he had done for a long time, and ordered a seat to be engaged for him in a vehicle going to Marseilles.

The evening before their separation, he described with sparkling vivacity, the charms of the Ligurian coast, and spoke of the future as if he were sure of entire recovery and a long life.

In the night Ulrich heard him groaning louder than usual, and starting up, raised him, as he was in the habit of doing when the poor little man was tortured by difficulty of breathing. But this time Pellicanus did not swear and scold, but remained perfectly still, and when his heavy head fell like a pumpkin on the boy's breast, he was greatly terrified and ran to call the artist.

Moor was soon standing at the head of the sick-bed, holding a light, so that its rays could fall upon the face of the gasping man. The latter opened his eyes and made three grimaces in quick succession--very comical ones, yet tinged with sadness.

Pellicanus probably noticed the artist's troubled glance, for he tried to nod to him, but his head was too heavy and his strength too slight, so he only succeeded in moving it first to the right and then to the left, but his eyes expressed everything he desired to say. In this way several minutes elapsed, then Pellicanus smiled, and with a sorrowful gaze, though a mischievous expression hovered around his mouth, scanned:

"'Mox erit' quiet and mute, 'gui modo' jester 'erat'." Then he said as softly as if every tone came, not from his chest, but merely from his lips--

"Is it agreed, Navarrete, Ulrich Navarrete? I've made the Latin easy for you, eh? Your hand, boy. Yours, too, dear, dear master . . . Moor, Ethiopian--Blackskin. . . ."

The words died away in a low, rattling sound, and the dying man's eyes became glazed, but it was several hours before he drew his last breath.

A priest gave him Extreme Unction, but consciousness did not return.

After the holy man had left him, his lips moved incessantly, but no one could understand what he said. Towards morning, the sun of Provence was shining warmly and brightly into the room and on his bed, when he suddenly threw his arm above his head, and half speaking, half singing to Hans Eitelfritz's melody, let fall from his lips the words: "In fortune, good fortune." A few minutes after he was dead.

Moor closed his eyes. Ulrich knelt weeping beside the bed, and kissed his poor friend's cold hand.

When he rose, the artist was gazing with silent reverence at the jester's features; Ulrich followed his eyes, and imagined he was standing in the presence of a miracle, for the harsh, bitter, troubled face had obtained a new expression, and was now the countenance of a peaceful, kindly man, who had fallen asleep with pleasant memories in his heart.

ETEXT EDITOR'S BOOKMARKS:

No one we learn to hate more easily, than the benefactor Once laughed at a misfortune, its sting loses its point To expect gratitude is folly Whoever condemns, feels himself superior

A WORD, ONLY A WORD

By Georg Ebers

Volume 3.

CHAPTER XIV.

For the first time in his life Ulrich had witnessed the death of a human being.

How often he had laughed at the fool, or thought his words absurd and wicked;--but the dead man inspired him with respect, and the thought of the old jester's corpse exerted a far deeper and more lasting influence upon him, than his father's supposed death. Hitherto he had only been able to imagine him as he had looked in life, but now the vision of him stretched at full length, stark and pale like the dead Pellicanus, often rose before his mind.

The artist was a silent man, and understood how to think and speak in lines and colors, better than in words. He only became eloquent and animated, when the conversation turned upon subjects connected with his art.

At Toulouse he purchased three new horses, and engaged the same number of French servants, then went to a jeweller and bought many articles. At the inn he put the chains and rings he had obtained, into pretty little boxes, and wrote on them in neat Gothic characters with special care: "Helena, Anna, Minerva, Europa and Lucia;" one name on each.

Ulrich watched him and remarked that those were not his children's names.

Moor looked up, and answered smiling: "These are only young artists, six sisters, each one of whom is as dear to me as if she were my own daughter. I hope we shall find them in Madrid, one of them, Sophonisba, at any rate."

"But there are only five boxes," observed the boy, "and you haven't written Sophonisba on any of them."

"She is to have something better," replied his patron smiling. "My portrait, which I began to paint yesterday, will be finished here. Hand me the mirror, the maul-stick, and the colors."

The picture was a superb likeness, absolutely faultless. The pure brow curved in lofty arches at the temples, the small eyes looked as clear and bright as they did in the mirror, the firm mouth shaded by a thin moustache, seemed as if it were just parting to utter a friendly word. The close-shaven beard on the cheeks and chin rested closely upon the white ruff, which seemed to have just come from under the laundresses' smoothing-iron.

How rapidly and firmly the master guided his brush! And Sophonisba, whom Moor distinguished by such a gift, how was he to imagine her? The other five sisters too! For their sakes he first anticipated with pleasure the arrival at Madrid.

In Bayonne the artist left the baggage-wagon behind. His luggage was put on mules, and when the party of travellers started, it formed an imposing caravan.

Ulrich expressed his surprise at such expenditure, and Moor answered kindly: "Pellicanus says: 'Among fools one must be a fool.' We enter Spain as the king's guests, and courtiers have weak eyes, and only notice people who give themselves airs."

At Fuenterrabia, the first Spanish city they reached, the artist received many honors, and a splendid troop of cavalry escorted him thence to Madrid.

Moor came as a guest to King Philip's capital for the third time, and was received there with all the tokens of respect usually paid only to great noblemen.

His old quarters in the treasury of the Alcazar, the palace of the kings of Castile, were again assigned to him. They consisted of a studio and suite of apartments, which by the monarch's special command, had been fitted up for him with royal magnificence.

Ulrich could not control his amazement. How poor and petty everything that a short time before, at Castle Rappolstein, had awakened his wonder and admiration now appeared.

During the first few days the artist's reception-room resembled a bee-hive; for aristocratic men and women, civil and ecclesiastical dignitaries passed in and out, pages and lackeys brought flowers, baskets of fruits, and other gifts. Every one attached to the court knew in what high favor the artist was held by His Majesty, and therefore hastened to win his good-will by attentions and presents. Every hour there was something new and astonishing to be seen, but the artist himself most awakened the boy's surprise.

The unassuming man, who on the journey had associated as familiarly with the poor invalids he had picked up by the wayside, the tavern-keepers, and soldiers of his escort, as if he were one of themselves, now seemed a very different person. True, he still dressed in black, but instead of cloth and silk, he wore velvet and satin, while two gold chains glittered beneath his ruff. He treated the greatest nobles as if he were doing them a favor by receiving them, and he himself were a person of unapproachable rank.

On the first day Philip and his queen Isabella of Valois, had sent for him and adorned him with a costly new chain.

On this occasion Ulrich saw the king. Dressed as a page he followed Moor, carrying the picture the latter intended for a gift to his royal host.

At the time of their entrance into the great reception-hall, the monarch was sitting motionless, gazing into vacancy, as if all the persons gathered around him had no existence for him. His head was thrown far back, pressing down the stiff ruff, on which it seemed to rest as if it were a platter. The fair-haired man's well-cut features wore the rigid, lifeless expression of a mask. The mouth and nostrils were slightly contracted, as if they shrank from breathing the same air with other human beings.

The monarch's face remained unmoved, while receiving the Pope's legates and the ambassadors from the republic of Venice. When Moor was led before him, a faint smile was visible beneath the soft, drooping moustache and close-shaven beard on the cheeks and chin; the prince's dull eyes also gained some little animation.

The day after the reception a bell rang in the studio, which was cleared of all present as quickly as possible, for it announced the approach of the king, who appeared entirely alone and spent two whole hours with Moor.

All these marks of distinction might have turned a weaker brain, but Moor received them calmly, and as soon as he was alone with Ulrich or Sophonisba, appeared no less unassuming and kindly, than at Emmendingen and on the journey through France.

A week after taking possession of the apartments in the treasury, the servants received orders to refuse admittance to every one, without distinction of rank or person, informing them that the artist was engaged in working for His Majesty.

Sophonisba Anguisciola was the only person whom Moor never refused to see. He had greeted the strange girl on his arrival, as a father meets his child.

Ulrich had been present when the artist gave her his portrait, and saw her, overwhelmed with joy and gratitude, cover her face with her hands and burst into loud sobs.

During Moor's first visit to Madrid, the young girl had come from Cremona to the king's court with her father and five sisters, and since then the task of supporting all six had rested on her shoulders.

Old Cavaliere Anguisciola was a nobleman of aristocratic family, who had squandered his large patrimony, and now, as he was fond of saying, lived day by day "by trusting God." A large portion of his oldest daughter's earnings he wasted at the gaming table with dissolute nobles, relying with happy confidence upon the talent displayed also by his younger children, and on what he called "trust in God." The gay, clever Italian was everywhere a welcome guest, and while Sophonisba toiled early and late, often without knowing how she was to obtain suitable food and clothing for her sisters and herself, his life was a series of banquets and festivals. Yet the noble girl retained the joyous courage inherited from her father, nay, more--even in necessity she did not cease to take a lofty view of art, and never permitted anything to leave her studio till she considered it finished.

At first Moor watched her silently, then he invited her to work in his studio, and avail herself of his advice and assistance.

So she had become his pupil, his friend.

Soon the young girl had no secrets from him, and the glimpses of her domestic life thus afforded touched him and brought her nearer and nearer to his heart.

The old Cavaliere praised the lucky accident, and was ready to show himself obliging, when Moor offered to let him and his daughters occupy a house he had purchased, that it might be kept in a habitable condition, and when the artist had induced the king to grant Sophonisba a larger annual salary, the father instantly bought a second horse.

The young girl, in return for so many benefits, was gratefully devoted to the artist, but she would have loved him even without them. His society was her greatest pleasure. To be allowed to stay and paint with him, become absorbed in conversation about art, its problems, means and purposes, afforded her the highest, purest happiness.

When she had discharged the duties imposed upon her by her attendance upon the queen, her heart drew her to the man she loved and honored. When she left him, it always seemed as if she had been in church, as if her soul had been steeped in purity and was effulgent. Moor had hoped to find her sisters with her in Madrid, but the old Cavaliere had taken them away with him to Italy. His "trust in God" was rewarded, for he had inherited a large fortune. What should he do longer in Madrid! To entertain the stiff, grave Spaniards and move them to laughter, was a far less pleasing occupation than to make merry with gay companions and be entertained himself at home.

Sophonisba was provided for, and the beautiful, gay, famous maid of honor would have no lack of suitors. Against his daughter's wish, he had given to the richest and most aristocratic among them, the Sicilian baron Don Fabrizio di Moncada, the hope of gaining her hand. "Conquer the fortress! When it yields--you can hold it," were his last words; but the citadel remained impregnable, though the besieger could bring into the field as allies a knightly, aristocratic bearing, an unsullied character, a handsome, manly figure, winning manners, and great wealth.

Ulrich felt a little disappointed not to find the five young girls, of whom he had dreamed, in Madrid; it would have been pleasant to have some pretty companions in the work now to begin.

Adjoining the studio was a smaller apartment, separated from the former room by a corridor, that could be closed, and by a heavy curtain. Here a table, at which the five girls might easily have found room, was placed in a favorable light for Ulrich. He was to draw from plastic models, and there was no lack of these in the Alcazar, for here rose a high, three-story wing, to which when wearied by the intrigues of statecraft and the restraints of court etiquette, King Philip gladly retired, yielding himself to the only genial impulse of his gloomy soul, and enjoyed the noble forms of art.

In the round hall on the lower floor countless plans, sketches, drawings and works of art were kept in walnut chests of excellent workmanship. Above this beautifully ornamented apartment--was the library, and in the third story the large hall containing the masterpieces of Titian.

The restless statesman, Philip, was no less eager to collect and obtain new and beautiful works by the great Venetian, than to defend and increase his own power and that of the Church. But these treasures were kept jealously guarded, accessible to no human being except himself and his artists.

Philip was all and all to himself; caring nothing for others, he did not deem it necessary, that they should share his pleasures. If anything outside the Church occupied a place in his regard, it was the artist, and therefore he did not grudge him what he denied to others.

Not only in the upper story, but in the lower ones also antique and modern busts and statues were arranged in appropriate places, and Moor was at liberty to choose from among them, for the king permitted him to do what was granted to no one else.

He often summoned him to the Titian Hall, and still more frequently rang the bell and entered the connecting corridor, accessible to himself alone, which led from the rooms devoted to art and science to the treasury and studio, where he spent hours with Moor. Ulrich eagerly devoted himself to the work, and his master watched his labor like an attentive, strict, and faithful teacher; meantime he carefully guarded against overtaxing the boy, allowed him to accompany him on many a ride, and advised him to look about the city. At first the lad liked to stroll through the streets and watch the long, brilliant processions, or timidly shrink back when closely-muffled men, their figures wholly invisible except the eyes and feet, bore a corpse along, or glided on mysterious missions through the streets. The bull-fights might have bewitched him, but he loved horses, and it grieved him to see the noble animal, wounded and killed.

He soon wearied of the civil and religious ceremonies, that might be witnessed nearly every day, and which always exerted the same power of attraction to the inhabitants of Madrid. Priests swarmed in the Alcazar, and soldiers belonging to every branch of military service, daily guarded or marched by the palace.

On the journey he had met plenty of mules with gay plumes and tassels, oddly-dressed peasants and citizens. Gentlemen in brilliant court uniforms, princes and princesses he saw daily in the court-yards, on the stairs, and in the park of the palace.

At Toulouse and in other cities, through which he had passed, life had been far more busy, active, and gay than in quiet Madrid, where everything went on as if people were on their way to church, where a cheerful face was rarely seen, and men and women knew of no sight more beautiful and attractive, than seeing poor Jews and heretics burned.

Ulrich did not need the city; the Alcazar was a world in itself, and offered him everything he desired.

He liked to linger in the stables, for there he could distinguish himself; but it was also delightful to work, for Moor chose models and designs that pleased the lad, and Sophonisba Anguisciola, who often painted for hours in the studio by the master's side, came to Ulrich in the intervals, looked at what he had finished, helped, praised, or scolded him, and never left him without a jest on her lips.

True, he was often left to himself; for the king sometimes summoned the artist and then quitted the palace with him for several days, to visit secluded country houses, and there--the old Hollander had told the lad--painted under Moor's instructions.

On the whole, there were new, strange, and surprising things enough, to keep the sensation of "Fortune," alive in Ulrich's heart. Only it was vexatious that he found it so hard to make himself intelligible to people, but this too was soon to be remedied, for the pupil obtained two companions.

CHAPTER XV.

Alonzo Sanchez Coello, a very distinguished Spanish artist, had his studio in the upper story of the treasury. The king was very friendly to him, and often took him also on his excursions. The gay, lively artist clung without envy, and with ardent reverence, to Moor, whose fellow-pupil he had been in Florence and Venice. During the Netherlander's first visit to Madrid, he had not disdained to seek counsel and instruction from his senior, and even now frequently visited his studio, bringing with him his children Sanchez and Isabella as pupils, and watched the Master closely while he painted.

At first Ulrich was not specially pleased with his new companions, for in the strangely visionary life he led, he had depended solely upon himself and "Fortune," and the figures living in his imagination were the most enjoyable society to him.

Formerly he had drawn eagerly in the morning, joyously anticipated Sophonisba's visit, and then gazed out over his paper and dreamed. How delightful it had been to let his thoughts wander to his heart's content. This could now be done no longer.

So it happened, that at first he could feel no real confidence in Sanchez, who was three years his senior, for the latter's thin limbs and close-cut dark hair made him look exactly like dark-browed Xaver. Therefore his relations with Isabella were all the more friendly.

She was scarcely fourteen, a dear little creature, with awkward limbs, and a face so wonderfully changeful in expression, that it could not fail to be by turns pretty and repellent. She always had beautiful eyes; all her other features were unformed, and might grow charming or exactly the reverse. When her work engrossed her attention, she bit her protruded tongue, and her raven-black hair, usually remarkably smooth, often became so oddly dishevelled, that she looked like a kobold; when, on the other hand, she talked pleasantly or jested, no one could help being pleased.

The child was rarely gifted, and her method of working was an exact contrast to that of the German lad. She progressed slowly, but finally accomplished something admirable; what Ulrich impetuously began had a showy, promising aspect, but in the execution the great idea shrivelled, and the work diminished in merit instead of increasing.

Sanchez Coello remained far behind the other two, but to make amends, he knew many things of which Ulrich's uncorrupted soul had no suspicion.

Little Isabella had been given by her mother, for a duenna, a watchful, ill-tempered widow, Senora Catalina, who never left the girl while she remained with Moor's pupils.

Receiving instruction with others urged Ulrich to rivalry, and also improved his knowledge of Spanish. But he soon became familiar with the language in another way, for one day, as he came out of the stables, a thin man in black, priestly robes, advanced towards him, looked searchingly into his face, then greeted him as a countryman, declaring that it made him happy to speak his dear native tongue again. Finally, he invited the "artist" to visit him. His name was Magister Kochel and he lodged with the king's almoner, for whom he was acting as clerk.

The pallid man with the withered face, deep-set eyes and peculiar grin, which always showed the bluish-red gums above the teeth, did not please the boy, but the thought of being able to talk in his native language attracted him, and he went to the German's.