Chapter 4

"You too then paint subjects of this pathetic kind?" asked the stranger, casting across at the young man a somewhat oblique glance from beneath half-closed eyelids. "I can never overcome my surprise that men in their best and most cheerful years can waste their time and imagination on such subjects. We have I should think Holy Families enough in our galleries, it is a field in which there is no room for a new invention; and those corpses and distortions of agony are so wholly repugnant to all grace and enjoyment of sense, that I can never help turning my eyes away from them. It is the business of the arts to heighten and cheer our existence, to make all its wants and all the wretchedness of the world vanish at their approach, and not to vex and rack our fancy with their productions. The sensible world ought to play in a fresh cheerful light, and with its gentle attraction soothe, and in that way elevate us. Beauty is joy, life, vigour. The man who seeks night and gloomy feelings has acquired yet small knowledge of himself. But you perhaps are one of those who, at the sight of pictures of this sort, force their religious faith into raptures, and require a species of devotion to be kindled in us, that we may understand the subject and appreciate it with christian feelings?"

"And would that then," cried Dietrich with a degree of haste and vehemence, "be a thing so unheard-of, or even singular? In the beautiful, when in its appearance the idea is realized, the attraction of the sensible world assumes a higher, a divine character, and thus the awe and pity which in uninspired souls want a voice and an interpreter, are exalted by the mediation of art into heavenly devotion. It is to be sure absurd, though excusable, when a wretched picture enraptures the believing spectator, merely on account of its pious subject; but it is to me perfectly inconceivable how a feeling heart at the sight of the Maria di Papa Sesto at Dresden can resist an impression of faith and devotion. I am well aware that the recent efforts of modern artists, among whom I own myself enlisted, have given great offence to many excellent people, but it is time to let passion subside, and to admit that the old track is quite broken up and become impassable. What in fact was the object of those who first revived the modern doctrine but to rekindle the feelings, which had long been considered as quite superfluous in all productions of art? And has not this new school already produced much that is respectable? A spirit, it cannot be denied, is manifesting itself, which will strengthen and improve. A new road has been discovered, which will, it is true, as is the case in every period of enthusiasm, be trodden by many uncalled aspirants, whose productions will be exaggerated, offensive, and in every respect censurable. But is then the bad of this age worse than the creations which some time ago raised Casanova to celebrity? or the empty emptier than that cold copying of the misunderstood antique, which gives the whole of the last age the appearance of one great botch in the history of the arts? Were not quaint mannerists even then the phenomena of promise? And could the Association in aid of the arts, respectable as were its founders, bring forth one vigorous production?"

"Young man," said the stranger with the most cutting coolness, "I ought to be ten years younger, or yourself older by some few, to engage in dispute on a subject of such importance. This new fantastic dream has taken possession of the age, that indeed cannot be denied, and must now be slept off to the waking. If those whom you find fault with were perhaps too sober, the men who are now extolled are on the other hand labouring under a morbid excitement, from a little weak beverage having mounted into their heads."

"You would not dispute," cried the young painter, "and you do more, you are bitter. Passion at all events takes from a man his freedom of judgment. Whether the party for which you contend with such weapons will gain by it, the future must decide."

Sophia had the malice to cast an encouraging look at the young man. Walther was by this time uneasy; but Erich joined in the conversation as mediator, and said, "Whenever a violent controversy stirs itself in the age, it is a sign that some truth lies midway between the parties, of which a contemporary, if he would be impartial, ought not to be entirely ignorant. The arts had long withdrawn from the business of life, and had become a mere article of luxury; it was in the mean time forgotten that they had ever been connected with the church and the world, with devotion and the spirit of enterprise, and all that was left to produce them was cold connoisseurship, partiality for petty details and the common-place natural, and an artificial enthusiasm. I well remember the time when the finest works of a Leonardo were pointed out only as remarkable and singular antiquities; Raphael himself was admired only with a qualifying criticism, and people shrugged their shoulders at still more ancient great masters, and never viewed the paintings of the earlier German and Flemish artists without laughter. This barbarism of ignorance at least is now gone by."

"If only no new and worse barbarism had arisen to supply its place!" cried Eulenböck, purpling deep with wine, as he threw a fiery glance at the stranger. "I never cease to regret that in our days the language of a genuine connoisseur is scarcely any longer to be heard; enthusiasm drowns the voice of judgment; and yet nothing is so instructive for the artist as a conversation with a genuine lover of the arts, to inform and animate him, though it is an advantage which for years together he may not be fortunate enough to enjoy."

The stranger, who seemed to be losing his temper and growing violent, became after these words again cheerful and mild. "Artists and lovers of art," he answered, "ought always to court each other's society, in order to be constantly learning of one another. So it was in former times; and this was another cause of the flourishing state of painting. The imagination of every inventor is confined, and flags if it be not refreshed and enriched from without, and this can only be done by means of judicious friendly suggestions, not to mention what is gained in point of correctness, gracefulness in the management, and taste in the selection of subjects."

"You have chosen," answered the old painter, "for the principal object of your study, an artist whom I myself love in a measure above all others."

"I confess," said the stranger, "that I have devoted my heart to him perhaps somewhat too exclusively. It was my good fortune early in life to become acquainted with and to understand some distinguished works of Julio Romano; in Mantua, on my travels, I met with an opportunity of studying him, and since then I think I am able to justify my predilection."

"Undoubtedly," rejoined the old man, "your stay there will have been one of the brightest epochs of your life. I have been forced of late years, to my intense disgust, to hear a great deal of blame thrown upon that great genius, chiefly for not treating sacred subjects with a due degree of fervour. All is not given to every one; but the sublimation of a vigorous animal life, the free range of frolic wantonness, the play of the liveliest of imaginations, were things reserved for him. And if the heart of the youthful pilgrim is still closed against the exuberance of this brilliant genius, let him bend his steps to Mantua, there, in the Palazzo del T., to learn I might almost say all the glories heaven and earth comprize in them; how radiant amid the terrors of the fall of the Titans is yet the revelry of joy and mirth, how glorious, in the saloon of Cupid and Psyche, amid the drunkenness of rapture, the heavenly appearance of perfect beauty."

Young Dietrich had for some time past been opening his eyes at their full stretch upon his apostate adherent; he could not comprehend this defection, and determined in a familiar moment to come to an explanation with the old man upon the subject; for though he might let the admiration of Julio pass, yet the first half of the conversation seemed to him to be in direct contradiction to Eulenböck's previous language, who however gave himself no concern about these trifles, but with the stranger amateur talked himself into so lively an enthusiasm, that for a long time they neither listened to the rest nor allowed them to put in a word.

Erich thought he observed a likeness between the stranger and a relative of Walther; this led them into the chapter of likenesses, and the strange way in which certain forms repeat themselves in families, often most distinctly in the most remote ramifications. "It is singular too," said the host, "that nature often proceeds just in the manner of art. If a Netherlander and an Italian of the elder school had to paint the same portrait, they would both seize the likeness, but each would produce quite a different portrait and quite a different likeness. So in my youth I knew a family consisting of several children, on all of whom was stamped the physiognomy of their parents, and a single leading form, but under different modifications, as clearly and distinctly as if the children had been portraitures of the same subject drawn by different great masters. The eldest daughter was as if painted by Correggio, with delicate complexion and slender form; the second was the same face, only larger and fuller, as if from the Florentine school; the third looked as if Rubens had painted the same portrait in his manner; the fourth like a picture of Dürer; the next like a work of the French school, showy and full, but indistinct; and the youngest like one painted in the liquid style of Leonardo. It was delightful to compare these faces, which with the same forms were so different again in expression, colouring, and lineaments."

"Do you remember that singular portrait," asked Erich, "which your old friend possessed in his collection, and which with so many other things has been lost in so inexplicable a manner?"

"Ay, to be sure," cried old Walther; "if it was not from the hand of Raphael, as some assert, it was at least by a first-rate master, who had successfully studied the art after his model. When some moderns talk of the art of portrait-painting, as if it were something trivial or even degrading to a painter, they need only be taken to this admirable work to be shamed out of their opinion."

"How say you," inquired the stranger, addressing himself with animation to the old Counsellor; "were other remarkable pictures lost beside this excellent piece? In what way?"

"Whether they are lost," said Walther, "it is impossible precisely to say; but they have disappeared, and have perhaps been sold and transported far away abroad. My friend, Baron von Essen, the father of the young man whom you lately met in my saloon, as he advanced in life grew humorsome and eccentric. Love of the arts was the basis of our friendship, and I may say I enjoyed his entire confidence. Our great pleasure was in our collections, and his at that time far surpassed mine, which I have been enabled to enlarge so considerably only by the thoughtlessness of his son. Whenever we wished to give ourselves a real treat, we seated ourselves in his cabinet, in which his choicest works were collected. He had set them in particularly splendid frames, and ingeniously arranged them in the most advantageous light. Beside that portrait there was an incomparable landscape of Nicholas Poussin, of which I have never seen the fellow. In a soft evening light, Christ is sailing with his disciples on the water. The lovely reflection of the houses and trees, the clear sky, the transparency of the waves, the noble character of the Redeemer, and the heavenly repose that hung over the whole, and almost dissolved the soul in melancholy and peaceful aspiration, are not to be described. By its side hung a Christ with the crown of thorns, by Guido Reni, of an expression such as since then I have never seen again. My old friend, among his oddities, would in general allow that excellent artist perhaps too little merit. But this picture always threw him into raptures; and indeed one seemed every time one saw it to see it for the first time; a familiar acquaintance with it did but heighten the enjoyment, and still discover new and more refined beauties. That expression of mildness, of patient resignation, of heavenly goodness, and forgiveness, could not but penetrate the most stubborn heart. It was not that state of intense passion which one sees in other similar pictures of Guido, and which, in spite of the excellent treatment of the subject, is rather repulsive than attractive, but on the contrary the sweetest while it was the most painful of pictures. Through the delicate fleshy parts beneath the cheek, chin, and eye, one saw and felt the whole skull, and this expression of suffering only enhanced its beauty. Opposite was a Lucretia, by the same master, plunging the dagger with a strong full arm into her beauteous bosom. In this picture the expression was great and vigorous, the colouring incomparable. A Holy Mother withdrawing the cloth from the naked body of the sleeping child, and Joseph and John gazing on the sleeper; the figures, large as life, were represented by an old Roman master, so nobly and gracefully as to baffle all description. But well might I seek words to give but a faint conception of that matchless Van Eyck, an Annunciation, which was perhaps the crown of the collection. If colour ever appeared in its glory as a daughter of heaven, if there ever was a play of light and shade, in which the noblest emotions of the soul were awakened; if delight, inspiration, poetry and truth and dignity of character, were ever fixed in figures and colouring upon canvas, it was done in that picture, which was more than painting and enchantment. I must break off, not to forget myself. These pictures were the principal; but a Hemling, a magnificent Annibal Carracci, a little picture of Christ among the soldiers, a Venus, perhaps by Titian, would have been well worth mentioning, and there was not a piece in this cabinet which would not have made any lover of the arts a happy man. And, imagine, conceive the singularity of the old gentleman; a short time before his death all these pieces disappeared, disappeared without leaving a trace behind. Did he sell them? He never answered this question, and his books must have afforded evidence of the fact after his death, but they contained no reference to it. Did he give them away? But to whom? One cannot help fearing, and the thought is heart-rending, that in a sort of raving melancholy, because he would not resign them to any other man on earth, shortly before his death he destroyed them. Destroyed them! Can you conceive, is it possible for a man to form an idea of so dreadful a distraction, if my conjecture is well founded?"

The old man was so agitated that he could not restrain his tears, and Eulenböck drew an immense yellow silk handkerchief out of his pocket, to dry his dark red face with theatrical pathos. "You no doubt remember," he began sobbing, "that singular picture of Quintin Messys, in which a young shepherd and a girl were represented in a strange dress, both admirably executed, and of which the old gentleman used to maintain that the figures looked like his son and your daughter." "The likeness was at that time striking," answered Erich; "but you have still forgotten to mention the St. John, which might at least vie with the Guido. It was perhaps a picture of Dominichino, or at least was extremely like his celebrated one. The eye of the youth upraised towards heaven, the inspiration, the longing, and at the same time the melancholy, that he had already seen the divine person on earth, had embraced him as a friend and understood him as a teacher, this reflexion of a past epoch on the mirror of his noble countenance was affecting and elevating. Ah! a few of these pictures might save the young man, and restore him to opulence."

"All would certainly be lost upon him," cried Eulenböck. "He would only squander it away again. What warnings have I not given him! But he does not listen to an old friend and the voice of experience. Now at last that the waters perhaps have come into his soul, his spirits sink within him; he saw that I was affected even to tears at his misfortunes, and solemnly promised me to amend forthwith, to work, and to become a regular man. When upon this I clasp him in an affectionate embrace, he tears himself from me laughing, and cries; but it is only from Twelfth-night that this resolution is to hold good, till then I am determined to be merry, and to go on in the old course! Say what I would, all was in vain: he threatened, if I did not let him have his will, to give up the reforming scheme altogether. Well, well: the holiday will come in a few days; the delay is but short; but at all events you may see from this how little his good resolutions are to be built on."

"He has always," said Sophia, "been too closely surrounded by pious people; from a spirit of contradiction he has turned himself to the other side, and thus indeed his wilfulness has prevented his intercourse with the virtuous from being of service to him."

"You are right in some degree," cried the old painter. "Has he not for some time past suffered himself to be besieged in a manner by the puritan, that tiresome old musical director Henne? But I assure you, that man's dry sermons cannot possibly take a hold on him; besides, the old fellow grows fuddled at his third glass, and so travels out of his text."

"He has carried things too far," observed the host: "men of this sort, when irregularity and extravagance have once become their way of life, can never right themselves again. A life of order, one that deserves the name of life, appears to them trivial and unmeaning; they are lost."

"Very true," said Eulenböck: "and merely to give you a striking instance of his madness, hear how he went to work with his library. He inherited from his worthy father an incomparable collection of books; the most magnificent editions of the classics, the greatest rarities of Italian literature, the first editions of Dante and Petrarch, things which one inquires after in vain, even in great cities. It comes into his head now that he must have a secretary to keep this library in order, to enter newly purchased books in a catalogue, to arrange the works systematically, and so forth. A young libertine proposes himself for this important office, and is immediately accepted, because he can chatter. There is not much to write, but he must learn to drink; and the loose companion takes his lessons kindly. Presently begins a mad life; day after day wild and wasteful, balls, masquerades, water-parties, open house kept for half the town. So by the end of half a year, when the young bibliologist comes to beg his salary, there is a lack of cash. The expedient they hit upon is, that he should take out his first year's salary in books at a fair rate. Neither master nor servant however know the value of the articles, which are indeed valuable only for connoisseurs, and these are not to be found in every street. The most precious works therefore were abandoned to him at a ridiculously low rate, and, the expedient once discovered, the same game is played again and again, and the oftener, because the new favorite had sometimes occasion to make disbursements for his patron in ready money, which were then repaid him in books. So that I am afraid nothing is left of the library but the bookcases."

"I know better than any one," said the counsellor, "in what an inexcusable manner the books were disposed of."

"These are all frightful stories," said Sophia; "who would tell them again in such a way even of his enemy?" "The worst of all though," proceeded Eulenböck, "was his passion for the celebrated beauty Betsy; for she accomplished on a large scale the destruction of his fortune, which his other follies could only partially injure. She too utterly ruined his character, which was originally well inclined. He has a good heart, but he is weak, so that every one who gains his favour can make what he will of him. My well-meant words died away upon the winds. I have sometimes sat up till midnight talking with him in the most pressing manner, but all my admonitions were merely thrown away. She had him so fast in her snares, that he was capable even of ill-treating his sincerest and oldest friends for her sake."

As the company rose from table, and during the exchange of compliments, Sophia took the opportunity, as she held out her hand to the old painter, who politely kissed it, to whisper distinctly in his ear, "O you most detestable of all detestable sinners, you ungrateful hypocrite! How can your perverse heart find in itself publicly to calumniate the man by whose benefits you have been enriched, and of whose thoughtlessness you take advantage, in order with your helpmates to plunge him into misery? Hitherto I have only taken you to be absurd, but good-natured; but I see it is not without a cause that you have the very physiognomy of a fiend! I abhor you!" She pushed him back with vehemence, and then hurried out of the room.

The company proceeded to the picture-saloon, where coffee was handed round. "What was the matter with my daughter?" the counsellor asked the painter: "she seemed so hasty, and had tears in her eyes."

"A dear good child," answered Eulenböck with a sneer; "you are truly fortunate, Mr. Privy Counsellor, in a daughter with such a sensitive heart. She was so kindly solicitous about my health; she thinks she sees an inflammation in my eyes, and imagined I might be in danger of losing my sight. That was the cause of her emotion."

"Excellent child!" exclaimed the father; "if I could but see her well settled, that I might die in peace!" The stranger had stayed behind to inspect the new picture which Erich was shewing him in the dining-room; they now rejoined the company, and Dietrich followed. They were all engaged in very animated conversation: the stranger blamed the subject of the picture, which Dietrich chose to defend. "If Teniers, and the other Flemish masters," said the latter, "have represented the temptation of St. Anthony in a comic and grotesque manner, it is a fancy which we must excuse, considering the mood in which they painted, and indulgence must be shown to the subordinate talent which was incapable of creating a lofty work. But the subject requires a serious treatment, and the old German master there has undoubtedly succeeded. If the spectator can but be impartial, he will feel himself attracted and gratified by that picture."

"The subject," replied the stranger, "is not one for painting. The tormenting dreams of a doting old man, the spectres which he sees in his solitude, and which by delusive charms or horrors endeavour to divert him from his melancholy contemplation, can only fall within the range of grotesque phantoms, and only be exhibited fantastically, if it be permitted to exhibit them at all; whereas the female figure there, which is meant to be noble and at the same time alluring, a naked beauty in the bloom of youth, and which nevertheless is but a spectre in disguise, the wild shapes around rendered the more conspicuous by the abruptness of the contrast, the horror of the old man who is seeking, with the confidence of finding himself again, this medley of the most contradictory feelings is utterly senseless, and it is to be lamented that talent and art should be lavished and ruined in labouring upon such a subject."