The Unknown Masterpiece by Honoré de Balzac (ereader iphone .TXT) 📖

Bear that in mind."

At last the restless spirit stopped, and turning to Porbus and Poussin, who were speechless with admiration, he spoke--

"This is not as good as my 'Belle Noiseuse'; still one might put one's name to such a thing as this.--Yes, I would put my name to it," he added, rising to reach for a mirror, in which he looked at the picture.--"And now," he said, "will you both come and breakfast with me? I have a smoked ham and some very fair wine!... Eh! eh! the times may be bad, but we can still have some talk about art! We can talk like equals.... Here is a little fellow who has aptitude," he added, laying a hand on Nicolas Poussin's shoulder.

In this way the stranger became aware of the threadbare condition of the Norman's doublet. He drew a leather purse from his girdle, felt in it, found two gold coins, and held them out.

"I will buy your sketch," he said.

"Take it," said Porbus, as he saw the other start and flush with embarrassment, for Poussin had the pride of poverty. "Pray, take it; he has a couple of king's ransoms in his pouch!"

The three came down together from the studio, and, talking of art by the way, reached a picturesque wooden house hard by the Pont Saint-Michel. Poussin wondered a moment at its ornament, at the knocker, at the frames of the casements, at the scroll-work designs, and in the next he stood in a vast low-ceiled room. A table, covered with tempting dishes, stood near the blazing fire, and (luck unhoped for) he was in the company of two great artists full of genial good humor.

"Do not look too long at that canvas, young man," said Porbus, when he saw that Poussin was standing, struck with wonder, before a painting. "You would fall a victim to despair."

It was the "Adam" painted by Mabuse to purchase his release from the prison, where his creditors had so long kept him. And, as a matter of fact, the figure stood out so boldly and convincingly, that Nicolas Poussin began to understand the real meaning of the words poured out by the old artist, who was himself looking at the picture with apparent satisfaction, but without enthusiasm. "I have done better than that!" he seemed to be saying to himself.

"There is life in it," he said aloud; "in that respect my poor master here surpassed himself, but there is some lack of truth in the background. The man lives indeed; he is rising, and will come toward us; but the atmosphere, the sky, the air, the breath of the breeze--you look and feel for them, but they are not there. And then the man himself is, after all, only a man! Ah! but the one man in the world who came direct from the hands of God must have had a something divine about him that is wanting here. Mabuse himself would grind his teeth and say so when he was not drunk."

Poussin looked from the speaker to Porbus, and from Porbus to the speaker, with restless curiosity. He went up to the latter to ask for the name of their host; but the painter laid a finger on his lips with an air of mystery. The young man's interest was excited; he kept silence, but hoped that sooner or later some word might be let fall that would reveal the name of his entertainer. It was evident that he was a man of talent and very wealthy, for Porbus listened to him respectfully, and the vast room was crowded with marvels of art.

A magnificent portrait of a woman, hung against the dark oak panels of the wall, next caught Poussin's attention.

"What a glorious Giorgione!" he cried.

"No," said his host, "it is an early daub of mine--"

"Gramercy! I am in the abode of the god of painting, it seems!" cried Poussin ingenuously.

The old man smiled as if he had long grown familiar with such praise.

"Master Frenhofer!" said Porbus, "do you think you could spare me a little of your capital Rhine wine?"

"A couple of pipes!" answered his host; "one to discharge a debt, for the pleasure of seeing your pretty sinner, the other as a present from a friend."

"Ah! if I had my health," returned Porbus, "and if you would but let me see your 'Belle Noiseuse,' I would paint some great picture, with breadth in it and depth; the figures should be life-size."

"Let you see my work!" cried the painter in agitation. "No, no! it is not perfect yet; something still remains for me to do. Yesterday, in the dusk," he said, "I thought I had reached the end. Her eyes seemed moist, the flesh quivered, something stirred the tresses of her hair. She breathed! But though I have succeeded in reproducing Nature's roundness and relief on the flat surface of the canvas, this morning, by daylight, I found out my mistake. Ah! to achieve that glorious result I have studied the works of the great masters of color, stripping off coat after coat of color from Titian's canvas, analyzing the pigments of the king of light. Like that sovereign painter, I began the face in a slight tone with a supple and fat paste--for shadow is but an accident; bear that in mind, youngster!--Then I began afresh, and by half-tones and thin glazes of color less and less transparent, I gradually deepened the tints to the deepest black of the strongest shadows. An ordinary painter makes his shadows something entirely different in nature from the high lights; they are wood or brass, or what you will, anything but flesh in shadow. You feel that even if those figures were to alter their position, those shadow stains would never be cleansed away, those parts of the picture would never glow with light.

"I have escaped one mistake, into which the most famous painters have sometimes fallen; in my canvas the whiteness shines through the densest and most persistent shadow. I have not marked out the limits of my figure in hard, dry outlines, and brought every least anatomical detail into prominence (like a host of dunces, who fancy that they can draw because they can trace a line elaborately smooth and clean), for the human body is not contained within the limits of line. In this the sculptor can approach the truth more nearly than we painters. Nature's way is a complicated succession of curve within curve. Strictly speaking, there is no such thing as drawing.--Do not laugh, young man; strange as that speech may seem to you, you will understand the truth in it some day.--A line is a method of expressing the effect of light upon an object; but there are no lines in Nature, everything is solid. We draw by modeling, that is to say, that we disengage an object from its setting; the distribution of the light alone gives to a body the appearance by which we know it. So I have not defined the outlines; I have suffused them with a haze of half-tints warm or golden, in such a sort that you can not lay your finger on the exact spot where background and contours meet. Seen from near, the picture looks a blur; it seems to lack definition; but step back two paces, and the whole thing becomes clear, distinct, and solid; the body stands out; the rounded form comes into relief; you feel that the air plays round it. And yet--I am not satisfied; I have misgivings. Perhaps one ought not to draw a single line; perhaps it would be better to attack the face from the centre, taking the highest prominences first, proceeding from them through the whole range of shadows to the heaviest of all. Is not this the method of the sun, the divine painter of the world? Oh, Nature, Nature! who has surprised thee, fugitive? But, after all, too much knowledge, like ignorance, brings you to a negation. I have doubts about my work."

There was a pause. Then the old man spoke again. "I have been at work upon it for ten years, young man; but what are ten short years in a struggle with Nature? Do we know how long Sir Pygmalion wrought at the one statue that came to life?" The old man fell into deep musings, and gazed before him with unseeing eyes, while he played unheedingly with his knife.

"Look, he is in conversation with his _domon!_" murmured Porbus.

At the word, Nicolas Poussin felt himself carried away by an unaccountable accession of artist's curiosity. For him the old man, at once intent and inert, the seer with the unseeing eyes, became something more than a man--a fantastic spirit living in a mysterious world, and countless vague thoughts awoke within his soul. The effect of this species of fascination upon his mind can no more be described in words than the passionate longing awakened in an exile's heart by the song that recalls his home. He thought of the scorn that the old man affected to display for the noblest efforts of art, of his wealth, his manners, of the deference paid to him by Porbus. The mysterious picture, the work of patience on which he had wrought so long in secret, was doubtless a work of genius, for the head of the Virgin which young Poussin had admired so frankly was beautiful even beside Mabuse's "Adam"--there was no mistaking the imperial manner of one of the princes of art. Everything combined to set the old man beyond the limits of human nature.

Out of the wealth of fancies in Nicolas Poussin's brain an idea grew, and gathered shape and clearness. He saw in this supernatural being a complete type of the artist nature, a nature mocking and kindly, barren and prolific, an erratic spirit intrusted with great and manifold powers which she too often abuses, leading sober reason, the Philistine, and sometimes even the amateur forth into a stony wilderness where they see nothing; but the white-winged maiden herself, wild as her fancies may be, finds epics there and castles and works of art. For Poussin, the enthusiast, the old man, was suddenly transfigured, and became Art incarnate, Art with its mysteries, its vehement passion and its dreams.

"Yes, my dear Porbus," Frenhofer continued, "hitherto I have never found a flawless model, a body with outlines of perfect beauty, the carnations--Ah! where does she live?" he cried, breaking in upon himself, "the undiscoverable Venus of the older time, for whom we have sought so often, only to find the scattered gleams of her beauty here and there? Oh! to behold once and for one moment, Nature grown perfect and divine, the Ideal at last, I would give all that I possess.... Nay, Beauty divine, I would go to seek thee in the dim land of the dead; like Orpheus, I would go down into the Hades of Art to bring back the life of art from among the shadows of death."

"We can go now," said Porbus to Poussin. "He neither hears nor sees us any longer."

"Let us go to his studio," said young Poussin, wondering greatly.

"Oh! the old fox takes care that no one shall enter it. His treasures are so carefully guarded that it is impossible for us to come at them. I have not waited for your suggestion and your fancy to attempt to lay hands on this mystery by force."

"So there is a mystery?" "Yes," answered Porbus. "Old Frenhofer is the only pupil Mabuse would take. Frenhofer became the painter's friend, deliverer, and father; he sacrificed the greater part of his fortune to enable Mabuse to indulge