Little French Masterpieces. Honore de Balzac
puffed out with conceit, believe too early in the future, they are considered people of intellect by fools alone. In this regard, the young stranger seemed to possess real merit, if talent is to be measured by that early timidity, that indescribable modesty which people destined to glory gradually lose in the exercise of their art, as pretty women lose theirs in the manoeuvring of coquetry. The habitude of triumph lessens doubt, and modesty perhaps is a form of doubt.
Overwhelmed by surprise and distress at that moment of his overweening presumption, the poor neophyte would not have entered the studio of the painter to whom we owe the admirable portrait of Henri IV., except for an extraordinary reinforcement sent him by chance. An old man ascended the stairs. From the oddity of his costume, the magnificence of his lace ruff, the ponderous self-assurance of his gait, the young man divined that he was either the painter's patron or his friend; he drew back against the wall to make room for him, and gazed at him curiously, hoping to find in him the kindly nature of an artist, or the obliging disposition of those who love art; but he detected something diabolical in that face, and above all that indefinable expression which artists dote upon. Imagine a bald, prominent, even protuberant forehead, overshadowing a small, flattened nose, turned up at the end like Rabelais's or Socrates's; a smiling mouth, wrinkled at the corners; a short chin, proudly raised, and adorned with a gray beard trimmed to a point; sea-green eyes, apparently dulled by age, which, however, by virtue of the contrast of the pearly-white in which the pupils swam, sometimes emitted magnetic glances under the spur of wrath or enthusiasm. The face was woefully ravaged by the fatigues of age, and even more by the thoughts which tire mind and body alike. The eyes had no lashes, and one could barely detect a trace of eyebrows over their protruding arches. Place that head upon a slender and fragile body, surround it with a lace ruff of snowy whiteness and of a pattern as elaborate as that of a silver fish-knife, throw a heavy gold chain over the old man's black doublet, and you will have an imperfect image of that individual, to whom the dim light of the hall imparted an even stranger colouring. You would have said that it was one of Rembrandt's canvases, walking silently, without a frame, through the dark atmosphere which that great painter made his own. The old man cast a sagacious glance at the young one, tapped thrice on the door, and said to a sickly-looking personage of about forty years, who opened it:
"Good morning, master."
Porbus bowed respectfully; he admitted the young man, thinking that he had come with the other, and paid the less heed to him because the neophyte was evidently under the spell which a born painter inevitably experiences at the aspect of the first studio that he sees, where some of the material processes of art are revealed to him. A window in the ceiling lighted Master Porbus's studio. The light, concentrated upon a canvas standing on the easel, which as yet bore only a few light strokes, did not reach the dark recesses in the corners of that enormous room; but a few stray gleams lighted up the silver bull's-eye in the centre of a cavalryman's cuirass hanging on the wall in the ruddy shadow; illuminated with a sudden beam the carved and polished cornice of an old-fashioned sideboard, laden with curious vessels; or studded with dazzling points of light the rough woof of certain old curtains of gold brocade, with broad, irregular folds, scattered about as drapery. Plaster casts, busts, and fragments of antique goddesses, fondly polished by the kisses of centuries, lay about upon tables and consoles. Innumerable sketches, studies in coloured chalk, in red lead, or in pen and ink, covered the walls to the ceiling. Boxes of colours, bottles of oil and of essences, and overturned stools, left only a narrow path to the sort of halo projected by the high stained-glass window, through which the light fell full upon Porbus's pale face and upon the ivory skull of his strange visitor. The young man's attention was soon exclusively absorbed by a picture which had already become famous even in that epoch of commotion and revolution, and which was visited by some of those obstinate enthusiasts to whom we owe the preservation of the sacred fire during evil days. That beautiful canvas represented St. Mary the Egyptian preparing to pay for her passage in the boat. That masterpiece, painted for Marie de Medici, was sold by her in the days of her destitution.
"I like your saint," the old man said to Porbus, "and I would give you ten golden crowns above the price that the queen is to pay; but meddle in her preserves! the deuce!"
"You think it is well done, do you?"
"Hum!" said the old man, "well done? Yes and no. Your saint is not badly put together, but she is not alive. You fellows think that you have done everything when you have drawn a figure correctly and put everything in its place according to the laws of anatomy. You colour this feature with a flesh-tint prepared beforehand on your palette, taking care to keep one side darker than the other; and because you glance from time to time at a nude woman standing on a table, you think that you have copied nature, you imagine that you are painters, and that you have discovered God's secret! Bah! To be a great poet, it is not enough to know syntax, and to avoid errors in grammar.
"Look at your saint, Porbus. At first glance she seems admirable; but at the second, one sees that she is glued to the canvas, and that it is impossible to walk about her body. She is a silhouette with but a single face, a figure cut out of canvas, an image that can neither turn nor change its position. I am not conscious of the air between that arm and the background of the picture; space and depth are lacking. However, everything is right so far as perspective is concerned, and the gradation of light and shade is scrupulously observed; but, despite such praise-worthy efforts, I am unable to believe that that beautiful body is animated with the warm breath of life. It seems to me that, if I should put my hand upon that firm, round breast, I should find it as cold as marble. No, my friend, the blood does not flow beneath that ivory skin; life does not swell with its purple dew the veins and fibres which intertwine like network beneath the transparent, amber-hued temples and breast. This place throbs with life, but that other place is motionless; life and death contend in every detail; here it is a woman, there a statue, and there a corpse. Your creation is incomplete. You have been able to breathe only a portion of your soul into your cherished work. The torch of Prometheus has gone out more than once in your hands, and many parts of your picture have not been touched by the celestial flame."
"But why, my dear master?" Porbus respectfully asked the old man, while the young man had difficulty in repressing a savage desire to strike him.
"Ah! it is this way," replied the little old man. "You have wavered irresolutely between the two systems, between drawing and colour, between the phlegmatic minuteness, the stiff precision of the old German masters, and the dazzling ardour and happy plenitude of the Italian painters. You have tried to imitate at the same time Hans Holbein and Titian, Albert Dürer and Paul Veronese. Assuredly that was a noble ambition! But what has happened? You have achieved neither the severe charm of precision, nor the deceitful magic of the chiaroscuro. In this spot, like melted bronze which bursts its too fragile mould, the rich, light colouring of Titian brings out too prominently the meagre outlines of Albert Dürer in which you moulded it. Elsewhere, the features have resisted and held in check the superb polish of the Venetian palette. Your face is neither perfectly drawn nor perfectly painted, and bears everywhere the traces of that unfortunate indecision. If you did not feel strong enough to melt together in the flame of your genius the two rival systems, you should have chosen frankly one or the other, in order to obtain the unity which represents one of the conditions of life. You are accurate only in the surroundings, your outlines are false, do not envelop each other, and give no promise of anything behind.
"There is a touch of truth here," said the old man, pointing to the saint's breast; "and here," he added, indicating the point where the shoulder came to an end. "But here," he said, reverting to the middle of the throat, "all is false. Let us not attempt to analyse anything; it would drive you to despair."
The old man seated himself on a stool, put his face in his hands, and said no more.
"Master," said Porbus, "I studied that throat very carefully in the nude figure; but, unfortunately for us, there are true effects in nature which seem improbable upon canvas."
"The mission of art is not to copy nature, but to express it! You are not a vile copyist, but a poet!" cried the old man, hastily interrupting Porbus with an imperious gesture. "Otherwise a sculptor would reach the end of his labours by moulding a woman! But try to mould your mistress's hand and to place it before you; you will find a horrible dead thing without any resemblance, and you will be obliged to resort to the chisel of the man who, without copying it exactly,