A Word, Only a Word
by Georg Ebers
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This did not escape the artist or Sophonisba, whom Moor had informed of what had occurred.

He trusted her as he did himself, and she deserved his confidence.

The clever Italian had shared his anxiety, and as soon as the king entered another apartment, she beckoned to Moor and held a long conversation with him in a window-recess. She advised him to keep everything in readiness for departure, and she undertook to watch and give him timely warning.

It was long after midnight, when Moor returned to his rooms. He sent the sleepy servant to rest, and paced anxiously to and fro for a short time; then he pushed Ulrich's portrait of Sophonisba nearer the mantel-piece, where countless candles were burning in lofty sconces.

This was his friend, and yet it was not. The thing lacking—yes, the king was right—was incomprehensible to a boy.

We cannot represent, what we are unable to feel. Yet Philip's censure had been too severe. With a few strokes of the brush Moor expected to make this picture a soul mirror of the beloved girl, from whom it was hard, unspeakably hard for him to part.

"More than fifty!" he thought, a melancholy smile hovering around his mouth.—"More than fifty, an old husband and father, and yet—yet—good nourishing bread at home—God bless it, Heaven preserve it! It only this girl were my daughter! How long the human heart retains its functional power! Perhaps love is the pith of life—when it dries, the tree withers too!"

Still absorbed in thought, Moor had seized his palette, and at intervals added a few short, almost imperceptible strokes to the mouth, eyes, and delicate nostrils of the portrait, before which he sat—but these few strokes lent charm and intellectual expression to his pupil's work.

When he at last rose and looked at what he had done, he could not help smiling, and asking himself how it was possible to imitate, with such trivial materials, the noblest possessions of man: mind and soul. Both now spoke to the spectator from these features. The right words were easy to the master, and with them he had given the clumsy sentence meaning and significance.

The next morning Ulrich found Moor before Sophonisba's portrait. The pupil's sleep had been no less restless than the master's, for the former had done something which lay heavy on his heart.

After being an involuntary witness of the scene in the studio the day before he had taken a ride with Sanchez and had afterwards gone to Kochel's to take a lesson. True, he now spoke Spanish with tolerable fluency and knew something of Italian, but Kochel entertained him so well, that he still visited him several times a week.

On this occasion, there was no translating. The German first kindly upbraided him for his long absence, and then, after the conversation had turned upon his painting and Moor, sympathizingly asked what truth there was in the rumor, that the king had not visited the artist for a long time and had withdrawn his favor from him.

"Withdrawn his favor!" Ulrich joyously exclaimed. "They are like two brothers! They wrestled together to-day, and the master, in all friendship, struck His Majesty a blow with the maul-stick. . . . But—for Heaven's sake!—you will swear—fool, that I am—you will swear not to speak of it!"

"Of course I will!" Kochel exclaimed with a loud laugh. "My hand upon it Navarrete. I'll keep silence, but you! Don't gossip about that! Not on any account! The jesting blow might do the master harm. Excuse me for to-day; there is a great deal of writing to be done for the almoner."

Ulrich went directly back to the studio. The conviction that he had committed a folly, nay, a crime, had taken possession of him directly after the last word escaped his lips, and now tortured him more and more. If Kochel, who was a very ordinary man, should not keep the secret, what might not Moor suffer from his treachery! The lad was usually no prattler, yet now, merely to boast of his master's familiar intercourse with the king, he had forgotten all caution.

After a restless night, his first thought had been to look at his portrait of Sophonisba. The picture lured, bewitched, enthralled him with an irresistible spell.

Was this really his work?

He recognized every stroke of the brush. And yet! Those thoughtful eyes, the light on the lofty brow, the delicate lips, which seemed about parting to utter some wise or witty word—he had not painted them, never, never could he have accomplished such a masterpiece. He became very anxious. Had "Fortune," which usually left him in the lurch when creating, aided him on this occasion? Last evening, before he went to bed, the picture had been very different. Moor rarely painted by candlelight and he had heard him come home late, yet now—now. . . .

He was roused from these thoughts by the artist, who had been feasting his eyes a long time on the handsome lad, now rapidly developing into a youth, as he stood before the canvas as if spellbound. He felt what was passing in the awakening artist-soul, for a similar incident had happened to himself, when studying with his old master, Schorel.

"What is the matter?" asked Moor as quietly as usual, laying his hand upon the arm of his embarrassed pupil. "Your work seems to please you remarkably."

"It is-I don't know"—stammered Ulrich. "It seems as if in the night. . . ."

"That often happens," interrupted the master. "If a man devotes himself earnestly to his profession, and says to himself: 'Art shall be everything to me, all else trivial interruptions,' invisible powers aid him, and when he sees in the morning what he has created the day before, he imagines a miracle has happened."

At these words Ulrich grew red and pale by turns. At last, shaking his head, he murmured in an undertone: "Yes, but those shadows at the corners of the mouth—do you see?—that light on the brow, and there—just look at the nostrils—I certainly did not paint those."

"I don't think them so much amiss," replied Moor. "Whatever friendly spirits now work for you at night, you must learn in Antwerp to paint in broad day at any hour."

"In Antwerp?"

"We shall prepare for departure this very day. It must be done with the utmost privacy. When Isabella has gone, pack your best clothes in the little knapsack. Perhaps we shall leave secretly; we have remained in Madrid long enough. Keep yourself always in readiness. No one, do you hear, no human being, not even the servants, must suspect what is going on. I know you; you are no babbler."

The artist suddenly paused and turned pale, for men's loud, angry voices were heard outside the door of the studio.

Ulrich too was startled.

The master's intention of leaving Madrid had pleased him, for it would withdraw the former from the danger that might result from his own imprudence. But as the strife in the anteroom grew louder, he already saw the alguazils forcing their way into the studio.

Moor went towards the door, but it was thrown wide open ere he reached it, and a bearded lansquenet crossed the threshold.

Laughing scornfully, he shouted a few derisive words at the French servants who had tried to stop him, then turning to the artist, and throwing back his broad chest, he held out his arms towards Moor, with passionate ardor, exclaiming: "These French flunkies—the varlets, tried to keep me from waiting upon my benefactor, my friend, the great Moor, to show my reverence for him. How you stare at me, Master! Have you forgotten Christmas-day at Emmendingen, and Hans Eitelfritz from Colln on the Spree?"

Every trace of anxiety instantly vanished from the face of the artist, who certainly had not recognized in this braggart the modest companion of those days.

Eitelfritz was strangely attired, so gaily and oddly dressed, that he could not fail to be conspicuous even among his comrades. One leg of his breeches, striped with red and blue, reached far below his knee, while the other, striped with yellow and green, enclosed the upper part of the limb, like a full muff. Then how many puffs, slashes and ribbons adorned his doublet! What gay plumes decked the pointed edge of his cap.

Moor gave the faithful fellow a friendly welcome, and expressed his pleasure at meeting him so handsomely equipped. He held his head higher now, than he used to do under the wagon-tilt and in quarters, and doubtless he had earned a right to do so.

"The fact is," replied Hans Eitelfritz, "I've received double pay for the past nine months, and take a different view of life from that of a poor devil of a man-at-arms who goes fighting through the country. You know the ditty:

"'There is one misery on earth, Well, well for him, who knows it not! With beggar's staff to wander forth, Imploring alms from spot to spot.'

"And the last verse:

"'And shall we never receive our due? Will our sore trials never end? Leader to victory, be true, Come quickly, death, beloved friend.'

"I often sang it in those days; but now: What does the world cost? A thousand zechins is not too much for me to pay for it!"

"Have you gained booty, Hans?"

"Better must come; but I'm faring tolerably well. Nothing but feasting! Three of us came here from Venice through Lombardy, by ship from Genoa to Barcelona, and thence through this barren, stony country here to Madrid."

"To take service?"

"No, indeed. I'm satisfied with my company and regiment. We brought some pictures here, painted by the great master, Titian, whose fame must surely have reached you. See this little purse! hear its jingle—it's all gold! If any one calls King Philip a niggard again, I'll knock his teeth down his throat."

"Good tidings, good reward!" laughed Moor. "Have you had board and lodging too?"

"A bed fit for the Roman Emperor,—and as for the rest?—I told you, nothing but feasting. Unluckily, the fun will be all over to-night, but to go without paying my respects to you. . . . Zounds! is that the little fellow—the Hop-o'my-Thumb-who pressed forward to the muster-table at Emmendingen?"

"Certainly, certainly."

"Zounds, he has grown. We'll gladly enlist you now, young sir. Can you remember me?"

"Of course I do," replied Ulrich. "You sang the song about 'good fortune'"

"Have you recollected that?" asked the lansquenet. "Foolish stuff! Believe it or not, I composed the merry little thing when in great sorrow and poverty, just to warm my heart. Now I'm prosperous, and can rarely succeed in writing a verse. Fires are not needed in summer."

"Where have you been lodged?"

"Here in the 'old cat.' That's a good name for this Goliath's palace."

When Eitelfritz had enquired about the jester and drunk a goblet of wine with Moor and Ulrich, he took leave of them both, and soon after the artist went to the city alone.

At the usual hour Isabella Coello came with her duenna to the studio, and instantly noticed the change Sophonisba's portrait had undergone.

Ulrich stood beside her before the easel, while she examined his work.

The young girl gazed at it a long, long time, without a word, only once pausing in her scrutiny to ask: "And you, you painted this—without the master?"

Ulrich shook his head, saying, in an undertone: "I suppose he thinks it is my own work; and yet—I can't understand it."

"But I can," she eagerly exclaimed, still gazing intently at the portrait.

At last, turning her round, pleasant flee towards him, she looked at him with tears in her eyes, saying so affectionately that the innermost depths of Ulrich's heart were stirred: "How glad I am! I could never accomplish such a work. You will become a great artist, a very distinguished one, like Moor. Take notice, you surely will. How beautiful that is!—I can find no words to express my admiration."

At these words the blood mounted to Ulrich's brain, and either the fiery wine he had drunk, or the delighted girl's prophetic words, or both, fairly intoxicated him. Scarcely knowing what he said or did, he seized Isabella's little hand, impetuously raised his curly head, and enthusiastically exclaimed: "Hear me! your prophecy shall be fulfilled, Belica; I will be an artist. Art, Art alone! The master said everything else is vain—trivial. Yes, I feel, I am certain, that the master is right."

"Yes, yes," cried Isabella; "you must become a great artist."

"And if I don't succeed, if I accomplish nothing more than this. . . ."

Here Ulrich suddenly paused, for he remembered that he was going away, perhaps to-morrow, so he continued sadly, in a calmer tone: "Rely upon it; I will do what I can, and whatever happens, you will rejoice, will you not, if I succeed-and if it should be otherwise. . . ."

"No, no," she eagerly exclaimed. "You can accomplish everything, and I—I; you don't know how happy it makes me that you can do more than I!"

Again he held out his hand, and as Isabella warmly clasped it, the watchful duenna's harsh voice cried:

"What does this mean, Senorita? To work, I beg of you. Your father says time is precious."


Time is precious! Magister Kochel had also doubtless said this to himself, as soon as Ulrich left him the day before. He had been hired by a secret power, with which however he was well acquainted, to watch the Netherland artist and collect evidence for a charge—a gravamen—against him.

The spying and informing, which he had zealously pursued for years in the service of the Holy Inquisition, he called "serving the Church," and hoped, sooner or later, to be rewarded with a benefice; but even if this escaped him, informing brought him as large an income as he required, and had become the greatest pleasure, indeed, a necessity of life to him.

He had commenced his career in Cologne as a Dominican friar, and remained in communication with some of his old brethren of the Order.

The monks, Sutor and Stubenrauch, whom Moor had hospitably received in his wagon at the last Advent season but one, sometimes answered Kochel's letters of enquiry.

The latter had long known that the unusual favor the king showed the artist was an abomination, not only to the heads of the Holy Inquisition, but also to the ambassadors and court dignitaries, yet Moor's quiet, stainless life afforded no handle for attack. Soon, however, unexpected aid came to him from a distance.

A letter arrived, dictated by Sutor, and written by Stubenrauch in the fluent bad Latin used by him and those of his ilk. Among other things it contained an account of a journey, in which much was said about Moor, whom the noble pair accused of having a heretical and evil mind. Instead of taking them to the goal of the journey, as he had promised, he had deserted them in a miserable tavern by the way-side, among rough, godless lansquenets, as the mother of Moses abandoned her babe. And such a man as this, they had heard with amazement at Cologne, was permitted to boast of the favor of His Most Catholic Majesty, King Philip. Kochel must take heed, that this leprous soul did not infect the whole flock, like a mangy sheep, or even turn the shepherd from the true pasture.

This letter had induced Kochel to lure Ulrich into the snare. The monstrous thing learned from the lad that day, capped the climax of all he had heard, and might serve as a foundation for the charge, that the heretical Netherlander—and people were disposed to regard all Netherlanders as heretics—had deluded the king's mind with magic arts, enslaved his soul and bound him with fetters forged by the Prince of Evil.

His pen was swift, and that very evening he went to the palace of the Inquisition, with the documents and indictment, but was detained there a long time the following day, to have his verbal deposition recorded. When he left the gloomy building, he was animated with the joyous conviction that he had not toiled in vain, and that the Netherlander was a lost man.

Preparations for departure were secretly made in the painter's rooms in the Alcazar during the afternoon. Moor was full of anxiety, for one of the royal lackeys, who was greatly devoted to him, had told him that a disguised emissary of the Dominicans—he knew him well—had come to the door of the studio, and talked there with one of the French servants. This meant as imminent peril as fire under the roof, water rising in the hold of a ship, or the plague in the house.

Sophonisba had told him that he would hear from her that day, but the sun was already low in the heavens, and neither she herself nor any message had arrived.

He tried to paint, and finding the attempt useless, gazed into the garden and at the distant chain of the Guadarrama mountains; but to-day he remained unmoved by the delicate violet-blue mist that floated around the bare, naked peaks of the chain.

It was wrath and impatience, mingled with bitter disappointment, that roused the tumult in his soul, not merely the dread of torture and death.

There had been hours when his heart had throbbed with gratitude to Philip, and he had believed in his friendship. And now? The king cared for nothing about him, except his brush.

He was still standing at the window, lost in gloomy thoughts, when Sophonisba was finally announced.

She did not come alone, but leaning on the arm of Don Fabrizio di Moncada. During the last hours of the ball the night before she had voluntarily given the Sicilian her hand, and rewarded his faithful wooing by accepting his suit.

Moor was rejoiced—yes, really glad at heart, and expressed his pleasure; nevertheless he felt a sharp pang, and when the baron, in his simple, aristocratic manner, thanked him for the faithful friendship he had always shown Sophonisba and her sisters, and then related how graciously the queen had joined their hands, he only listened with partial attention, for many doubts and suspicions beset him.

Had Sophonisba's heart uttered the "yes," or had she made a heavy sacrifice for him and his safety? Perhaps she would find true happiness by the side of this worthy noble, but why had she given herself to him now, just now? Then the thought darted through his mind, that the widowed Marquesa Romero, the all-powerful friend of the Grand Inquisitor was Don Fabrizio's sister.

Sophonisba had left the conversation to her betrothed husband; but when the doors of the brightly-lighted reception-room were opened, and the candles in the studio lighted, the girl could no longer endure the restraint she had hitherto imposed upon herself, and whispered hurriedly, in broken accents:

"Dismiss the servants, lock the studio, and follow us."

Moor did as he was requested, and, with the baron, obeyed her request to search the anterooms, to see that no unbidden visitor remained. She herself raised the curtains and looked up the chimney.

Moor had rarely seen her so pale. Unable to control the muscles of her face, shoulders and hands, she went into the middle of the room, beckoned the men to come close to her, raised her fan to her face, and whispered:

"Don Fabrizio and I are now one. God hears me! You, Master, are in great peril and surrounded by spies. Some one witnessed yesterday's incident, and it is now the talk of the town. Don Fabrizio has made inquiries. There is an accusation against you, and the Inquisition will act upon it. The informers call you a heretic, a sorcerer, who has bewitched the king. They will seize you to-morrow, or the day after. The king is in a terrible mood. The Nuncio openly asked him whether it was true, that he had been offered an atrocious insult in your studio. Is everything ready? Can you fly?"

Moor bent his head in assent.

"Well then," said the baron, interrupting Sophonisba; "I beg you to listen to me. I have obtained leave of absence, to go to Sicily to ask my father's blessing. It will be no easy matter for me to leave my happiness, at the moment my most ardent wish is fulfilled—but Sophonisba commands and I obey. I obey gladly too, for if I succeed in saving you, a new and beautiful star will adorn the heaven of my memory."

"Quick, quick!" pleaded Sophonisba, clenching the back of a chair firmly with her hand. "You will yield, Master; I beseech you, I command you!"

Moor bowed, and Don Fabrizio continued: "We will start at four o'clock in the morning. Instead of exchanging vows of love, we held a council of war. Everything is arranged. In an hour my servants will come and ask for the portrait of my betrothed bride; instead of the picture, you will put your baggage in the chest. Before midnight you will come to my apartments. I have passports for myself, six servants, the equerry, and a chaplain. Father Clement will remain safely concealed at my sister's, and you will accompany me in priestly costume. May we rely upon your consent?"

"With all the gratitude of a thankful heart, but. . . ."


"There is my old servant—and my pupil Ulrich Navarrete."

"The old man is taciturn, Don Fabrizio!" said Sophonisba. "If he is forbidden to speak at all. . . . He is necessary to the Master."

"Then he can accompany you," said the baron. "As for your pupil, he must help us secure your flight, and lead the pursuers on a false trail. The king has honored you with a travelling-carriage.—At half-past eleven order horses to be put to it and leave the Alcazar. When you arrive before our palace, stop it, alight, and remain with me. Ulrich, whom everybody knows—who has not noticed the handsome, fair-haired lad in his gay clothes—will stay with the carriage and accompany it along the road towards Burgos, as far as it goes. A better decoy than he cannot be imagined, and besides he is nimble and an excellent horseman. Give him your own steed, the white Andalusian. If the blood-hounds should overtake him. . . ."

Here Moor interrupted the baron, saying gravely and firmly: "My grey head will be too dearly purchased at the cost of this young life. Change this part of your plan, I entreat you."

"Impossible!" exclaimed the Sicilian. "We have few hours at our command, and if they don't follow him, they will pursue us, and you will be lost."

"Yet. . . ." Moor began; but Sophonisba, scarcely able to command her voice, interrupted: "He owes everything to—you. I know him. Where is he?"

"Let us maintain our self-control!" cried the Netherlander. "I do not rely upon the king's mercy, but perhaps in the decisive hour, he will remember what we have been to each other; if Ulrich, on the contrary, robs the irritated lion of his prey and is seized. . . ."

"My sister shall watch over him," said the baron but Sophonisba tore open the door, rushed into the studio, and called as loudly as she could: "Ulrich, Ulrich! Ulrich!"

The men followed her, but scarcely had they crossed the threshold, when they heard her rap violently at the door of the school-room, and Ulrich asking: "What is it?"

"Open the door!"

Soon after, with pallid face and throbbing heart, he was standing before the others, asking: "What am I to do?"

"Save your master!" cried Sophonisba. "Are you a contemptible Wight, or does a true artist's heart beat in your breast? Would you fear to go, perhaps to your death, for this imperilled man?"

"No, no!" cried the youth as joyously as if a hundred-pound weight had been lifted from his breast. "If it costs my life, so much the better! Here I am! Post me where you please, do with me as you will! He has given me everything, and I—I have betrayed him. I must confess, even if you kill me! I gossiped, babbled—like a fool, a child—about what I accidentally saw here yesterday. It is my fault, mine, if they pursue him. Forgive me, master, forgive me! Do with me what you will. Beat me, slay me, and I will bless you."

As he uttered the last words, the young artist, raising his clasped hands imploringly, fell on his knees before his beloved teacher. Moor bent towards him, saying with grave kindness:

"Rise, poor lad. I am not angry with you."

When Ulrich again stood before him, he kissed his forehead and continued:

"I have not been mistaken in you. Do you, Don Fabrizio, recommend Navarrete to the Marquesa's protection, and tell him what we desire. It would scarcely redound to his happiness, if the deed, for which my imprudence and his thoughtlessness are to blame, should be revenged on me. It comforts us to atone for a wrong. Whether you save me, Ulrich, or I perish—no matter; you are and always will be, my dear, faithful friend."

Ulrich threw himself sobbing on the artist's breast, and when he learned what was required of him, fairly glowed with delight and eagerness for action; he thought no greater joy could befall him than to die for the Master.

As the bell of the palace-chapel was ringing for evening service, Sophonisba was obliged to leave her friend; for it was her duty to attend the nocturnus with the queen.

Don Fabrizio turned away, while she bade Moor farewell.

"If you desire my happiness, make him happy," the artist whispered; but she could find no words to reply, and only nodded silently.

He drew her gently towards him, kissed her brow, and said: "There is a hard and yet a consoling word Love is divine; but still more divine is sacrifice. To-day I am both your friend and father. Remember me to your sisters. God bless you, child!"

"And you, you!" sobbed the girl.

Never had any human being prayed so fervently for another's welfare in the magnificent chapel of the Alcazar, as did Sophonisba Anguisciola on this evening. Don Fabrizio's betrothed bride also pleaded for peace and calmness in her own heart, for power to forget and to do her duty.


Half an hour before midnight Moor entered the calash, and Ulrich Navarrete mounted the white Andalusian.

The artist, deeply agitated, had already taken leave of his protege in the studio, had given him a purse of gold for his travelling-expenses and any other wants, and told him that he would always find with him in Flanders a home, a father, love, and instruction in his art.

The painter alighted before Don Fabrizio's palace; a short time after Ulrich noisily drew the leather curtain before the partition of the calash, and then called to the coachman, who had often driven Moor when he was unexpectedly summoned to one of the king's pleasure-palaces at night: "Go ahead!"

They were stopped at the gate, but the guards knew the favorite's calash and fair-haired pupil, and granted the latter the escort he asked for his master. So they went forward; at first rapidly, then at a pace easy for the horses. He told the coachman that Moor had alighted at the second station, and would ride with His Majesty to Avila, where he wished to find the carriage.

During the whole way, Ulrich thought little of himself, and all the more of the master. If the pursuers had set out the morning after the departure, and followed him instead of Don Fabrizio's party, Moor might now be safe. He knew the names of the towns on the road to Valencia and thought: "Now he may be here, now he may be there, now he must be approaching Tarancon."

In the evening the calash reached the famous stronghold of Avila where, according to the agreement, Ulrich was to leave the carriage and try to make his own escape. The road led through the town, which was surrounded by high walls and deep ditches. There was no possibility of going round it, yet the drawbridges were already raised and the gates locked, so he boldly called the warder and showed his passport.

An officer asked to see the artist. Ulrich said that he would follow him; but the soldier was not satisfied, and ordered him to alight and accompany him to the commandant.

Ulrich struck his spurs into the Andalusian's flanks and tried to go back over the road by which he had come; but the horse had scarcely begun to gallop, when a shot was fired, that stretched it on the ground. The rider was dragged into the guard-house as a prisoner, and subjected to a severe examination.

He was suspected of having murdered Moor and of having stolen his money, for a purse filled with ducats was found on his person. While he was being fettered, the pursuers reached Avila.

A new examination began, and now trial followed trial, torture, torture.

Even at Avila a sack was thrown over his head, and only opened, when to keep him alive, he was fed with bread and water. Firmly bound in a two-wheeled cart, drawn by mules, he was dragged over stock and stones to Madrid.

Often, in the darkness, oppressed for breath, jolted, bruised, unable to control his thoughts, or even his voice, he expected to perish; yet no fainting-fit, no moment of utter unconsciousness pityingly came to his relief, far less did any human heart have compassion on his suffering.

At last, at last he was unbound, and led, still with his head covered, into a small, dark room.

Here he was released from the sack, but again loaded with chains.

When he was left alone and had regained the capacity to think, he felt convinced that he was in one of the dungeons of the Inquisition. Here were the damp walls, the wooden bench, the window in the ceiling, of which he had heard. He was soon to learn that he had judged correctly.

His body was granted a week's rest, but during this horrible week he did not cease to upbraid himself as a traitor, and execrate the fate which had used him a second time to hurl a friend and benefactor into ruin. He cursed himself, and when he thought of the "word" "fortune, fortune!" he gnashed his teeth scornfully and clenched his fist.

His young soul was darkened, embittered, thrown off its balance. He saw no deliverance, no hope, no consolation. He tried to pray, to God, to Jesus Christ, to the Virgin, to the Saints; but they all stood before him, in a vision, with lifeless features and paralyzed arms. For him, who had relied on "Fortune," and behaved like a fool, they felt no pity, no compassion, they would not lend their aid.

But soon his former energy returned and with it the power to lift his soul in prayer. He regained them during the torture, on the rack.

Weeks, months elapsed. Ulrich still remained in the gloomy cell, loaded with chains, scantily fed on bread and water, constantly looking death in the face; but a fresh, beautiful spirit of defiance and firm determination to live animated the youth, who was now at peace with himself. On the rack he had regained the right to respect himself, and striven to win the master's praise, the approval of the living and his beloved dead.

The wounds on his poor, crushed, mangled hands and feet still burned. The physician had seen them, and when they healed, shook his head in amazement.

Ulrich rejoiced in his scars, for on the rack and in the Spanish boot, on nails, and the pointed bench, in the iron necklace and with the stifling helmet on his head, he had resolutely refused to betray through whom and whither the master had escaped.

They might come back, burn and spear him; but through him they should surely learn nothing, nothing at all. He was scarcely aware that he had a right to forgiveness; yet he felt he had atoned.

Now he could think of the past again. The Holy Virgin once more wore his lost mother's features; his father, Ruth, Pellicanus, Moor looked kindly at him. But the brightest light shone into his soul through the darkness of the dungeon, when he thought of art and his last work. It stood before him distinctly in brilliant hues, feature for feature, as on the canvas; he esteemed himself happy in having painted it, and would willingly have gone to the rack once, twice, thrice, if he could merely have obtained the certainty of creating other pictures like this, and perhaps still nobler, more beautiful ones.

Art! Art! Perhaps this was the "word," and if not, it was the highest, most exquisite, most precious thing in life, beside which everything else seemed small, pitiful and insipid. With what other word could God have created the world, human beings, animals, and plants? The doctor had often called every flower, every beetle, a work of art, and Ulrich now understood his meaning, and could imagine how the Almighty, with the thirst for creation and plastic hand of the greatest of all artists had formed the gigantic bodies of the stars, had given the sky its glittering blue, had indented and rounded the mountains, had bestowed form and color on everything that runs, creeps, flies, buds and blossoms, and had fashioned man—created in His own image—in the most majestic form of all.

How wonderful the works of God appeared to him in the solitude of the dark dungeon—and if the world was beautiful, was it not the work of His Divine Art!

Heaven and earth knew no word greater, more powerful, more mighty in creating beauty than: Art. What, compared with its gifts, were the miserable, delusive ones of Fortune: gay clothes, spiced dishes, magnificent rooms, and friendly glances from beautiful eyes, that smile on every one who pleases them! He would blow them all into the air, for the assistance of Art in joyous creating. Rather, a thousand times rather, would he beg his bread, and attain great things in Art, than riot and revel in good-fortune.

Colors, colors, canvas, a model like Sophonisba, and success in the realm of Art! It was for these things he longed, these things made him yearn with such passionate eagerness for deliverance, liberty.

Months glided by, maturing Ulrich's mind as rapidly as if they had been years; but his inclination to retire within himself deepened into intense reserve.

At last the day arrived on which, through the influence of the Marquesa Romero, the doors of his dungeon opened.

It was soon after receiving a sharp warning to renounce his obstinacy at the next examination, that the youth was suddenly informed that he was free. The jailer took off his fetters, and helped him exchange his prison garb for the dress he had worn when captured; then disguised men threw a sack over his head and led him up and down stairs and across pavements, through dust and grass, into the little court-yard of a deserted house in the suburbs. There they left him, and he soon released his head from its covering.

How delicious God's free air seemed, as his chest heaved with grateful joy! He threw out his arms like a bird stretching its wings to fly, then he clasped his hands over his brow, and at last, as if a second time pursued, rushed out of the court-yard into the street. The passers-by looked after him, shaking their heads, and he certainly presented a singular spectacle, for the dress in which he had fled many months before, had sustained severe injuries on the journey from Avila; his hat was lost on the way, and had not been replaced by a new one. The cuffs and collar, which belonged to his doublet, were missing, and his thick, fair hair hung in dishevelled locks over his neck and temples; his full, rosy cheeks had grown thin, his eyes seemed to have enlarged, and during his imprisonment a soft down had grown on his cheeks and chin.

He was now eighteen, but looked older, and the grave expression on his brow and in his eyes, gave him the appearance of a man.

He had rushed straight forward, without asking himself whither; now he reached a busy street and checked his career. Was he in Madrid? Yes, for there rose the blue peaks of the Guadarrama chain, which he knew well. There were the little trees at which the denizen of the Black Forest had often smiled, but which to-day looked large and stately. Now a toreador, whom he had seen more than once in the arena, strutted past. This was the gate, through which he had ridden out of the city beside the master's calash.

He must go into the town, but what should he do there?

Had they restored the master's gold with the clothes?

He searched the pockets, but instead of the purse, found only a few large silver coins, which he knew he had not possessed at the time of his capture.

In a cook-shop behind the gate he enjoyed some meat and wine after his long deprivation, and after reflecting upon his situation he decided to call on Don Fabrizio.

The porter refused him admittance, but after he had mentioned his name, kindly invited him into the porch, and told him that the baron and his wife were in the country with the Marquesa Romero. They were expected back on Tuesday, and would doubtless receive him then, for they had already asked about him several times. The young gentleman probably came from some foreign country; it was the custom to wear hats in Madrid.

Ulrich now noticed what he lacked, but before leaving, to supply the want, asked the porter, if he knew what had become of Master Moor.

Safe! He was safe! Several weeks before Donna Sophonisba had received a letter sent from Flanders, and Ulrich's companion was well informed, for his wife served the baroness as 'doncella'.

Joyously, almost beside himself with pure, heart-cheering delight, the released prisoner hurried away, bought himself a new cap, and then sought the Alcazar.

Before the treasury, in the place of old Santo, Carmen's father, stood a tall, broad portero, still a young man, who rudely refused him admittance.

"Master Moor has not been here for a long time," said the gate-keeper angrily: "Artists don't wear ragged clothes, and if you don't wish to see the inside of a guard-house—a place you are doubtless familiar with—you had better leave at once."

Ulrich answered the gate-keeper's insulting taunts indignantly and proudly, for he was no longer the yielding boy of former days, and the quarrel soon became serious.

Just then a dainty little woman, neatly dressed for the evening promenade, with the mantilla on her curls, a pomegranate blossom in her hair, and another on her bosom, came out of the Alcazar. Waving her fan, and tripping over the pavement like a wag-tail, she came directly towards the disputants.

Ulrich recognized her instantly; it was Carmen, the pretty embroiderer of the shell-grotto in the park, now the wife of the new porter, who had obtained his dead predecessor's office, as well as his daughter.

"Carmen!" exclaimed Ulrich, as soon as he saw the pretty little woman, then added confidently. "This young lady knows me."

"I?" asked the young wife, turning up her pretty little nose, and looking at the tall youth's shabby costume. "Who are you?"

"Master Moor's pupil, Ulrich Navarrete; don't you remember me?"

"I? You must be mistaken!"

With these words she shut her fan so abruptly, that it snapped loudly, and tripped on.

Ulrich shrugged his shoulders, then turned to the porter more courteously, and this time succeeded in his purpose; for the artist Coello's body-servant came out of the treasury, and willingly announced him to his master, who now, as court-artist, occupied Moor's quarters.

Ulrich followed the friendly Pablo into the palace, where every step he mounted reminded him of his old master and former days.

When he at last stood in the anteroom, and the odor of the fresh oil-colors, which were being ground in an adjoining room, reached his nostrils, he inhaled it no less eagerly than, an hour before, he had breathed the fresh air, of which he had been so long deprived.

What reception could he expect? The court-artist might easily shrink from coming in contact with the pupil of Moor, who had now lost the sovereign's favor. Coello was a very different man from the Master, a child of the moment, varying every day. Sometimes haughty and repellent, on other occasions a gay, merry companion, who had jested with his own children and Ulrich also, as if all were on the same footing. If today . . . but Ulrich did not have much time for such reflections; a few minutes after Pablo left, the door was torn open, and the whole Coello family rushed joyously to meet him; Isabella first. Sanchez followed close behind her, then came the artist, next his stout, clumsy wife, whom Ulrich had rarely seen, because she usually spent the whole day lying on a couch with her lap-dog. Last of all appeared the duenna Catalina, a would-be sweet smile hovering around her lips.

The reception given him by the others was all the more joyous and cordial.

Isabella laid her hands on his arm, as if she wanted to feel that it was really he; and yet, when she looked at him more closely, she shook her head as if there was something strange in his appearance. Sanchez embraced him, whirling him round and round, Coello shook hands, murmuring many kind words, and the mother turned to the duenna, exclaiming:

"Holy Virgin! what has happened to the pretty boy? How famished he looks! Go to the kitchen instantly, Catalina, and tell Diego to bring him food—food and drink."

At last they all pulled and pushed him into the sitting-room, where the mother immediately threw herself on the couch again; then the others questioned him, making him tell them how he had fared, whence he came, and many other particulars.

He was no longer hungry, but Senora Petra insisted upon his seating himself near her couch and eating a capon, while he told his story.

Every face expressed sympathy, approval, pity, and at last Coello said:

"Remain here, Navarrete. The king longs for Moor, and you will be as safe with us, as if you were in Abraham's lap. We have plenty for you to do. You come to me as opportunely, as if you had dropped from the skies. I was just going to write to Venice for an assistant. Holy Jacob! You can't stay so, but thanks to the Madonna and Moor, you are not poor. We have ample means, my young sir. Donna Sophonisba gave me a hundred zechins for you; they are lying in yonder chest, and thank Heaven, haven't grown impatient by waiting. They are at your disposal. Your master, my master, the noble master of all portrait-painters, our beloved Moor arranged it. You won't go about the streets in this way any longer. Look, Isabella; this sleeve is hanging by two strings, and the elbow is peering out of the window. Such a dress is airy enough, certainly. Take him to the tailor's at once, Sanchez, Oliverio, or . . . but no, no; we'll all stay together to-day. Herrera is coming from the Escurial. You will endure the dress for the sake of the wearer, won't you, ladies? Besides, who is to choose the velvet and cut for this young dandy? He always wore something unusual. I can still see the master's smile, provoked by some of the lad's new contrivances in puffs and slashes. It is pleasant to have you here, my boy! I ought to slay a calf, as the father did for the prodigal son; but we live in miniature. Instead of neat-cattle, only a capon! . . ."

"But you're not drinking, you're not drinking! Isabella, fill his glass. Look! only see these scars on his hands and neck. It will need a great deal of lace to conceal them. No, no, they are marks of honor, you must show them. Come here, I will kiss this great scar, on your neck, my brave, faithful fellow, and some day a fair one will follow my example. If Antonio were only here! There's a kiss for him, and another, there, there. Art bestows it, Art, for whom you have saved Moor!"

A master's kiss in the name of Art! It was sweeter than the beautiful Carmen's lips!

Coello was himself an artist, a great painter! Where could his peers be found—or those of Moor, and the architect Herrera, who entered soon after. Only those, who consecrated their lives to Art, the word of words, could be so noble, cheerful, kind.

How happy he was when he went to bed! how gratefully he told his beloved dead, in spirit, what had fallen to his lot, and how joyously he could pray!

The next morning he went with a full purse into the city, returning elegantly dressed, and with neatly-arranged locks. The peinador had given his budding moustache a bold twist upward.

He still looked thin and somewhat awkward, but the tall youth promised to become a stately man.


Towards noon Coello called Ulrich into Moor's former studio; the youth could not fail to observe its altered appearance.

Long cartoons, containing sketches of figures, large paintings, just commenced or half-finished, leaned against the easels; mannikins, movable wooden horse's heads, and plaster-models stood on the floor, the tables, and in the windows. Stuffs, garments, tapestries, weapons hung over the backs of the chairs, or lay on chests, tables and the stone-floor. Withered laurel-wreaths, tied with long ribbons, fluttered over the mantel-piece; one had fallen, dropped over the bald head of Julius Caesar, and rested on the breast.

The artist's six cats glided about among the easels, or stretched their limbs on costly velvet and Arabian carpets.

In one corner stood a small bed with silk curtains—the nursery of the master's pets. A magnificent white cat was suckling her kittens in it.

Two blue and yellow cockatoos and several parrots swung screaming in brass hoops before the open window, and Coello's coal-black negro crept about, cleaning the floor of the spacious apartment, though it was already noon. While engaged in this occupation, he constantly shook his woolly head, displaying his teeth, for his master was singing loudly at his work, and the gaily-clad African loved music.

What a transformation bad taken place in the Netherlander's quiet, orderly, scrupulously neat studio! But, even amid this confusion, admirable works were created; nay, the Spaniard possessed a much more vivid imagination, and painted pictures, containing a larger number of figures and far more spirited than Moor's, though they certainly were not pervaded by the depth and earnestness, the marvellous fidelity to nature, that characterized those of Ulrich's beloved master.

Coello called the youth to the easel, and pointing to the sketches in color, containing numerous figures, on which he was painting, said:

"Look here, my son. This is to be a battle of the Centaurs, these are Parthian horsemen;—Saint George and the Dragon, and the Crusaders are not yet finished. The king wants the Apocalyptic riders too. Deuce take it! But it must be done. I shall commence them to-morrow. They are intended for the walls and ceiling of the new winter riding-school. One person gets along slowly with all this stuff, and I—I. . . . The orders oppress me. If a man could only double, quadruple himself! Diana of Ephesus had many breasts, and Cerberus three heads, but only two hands have grown on my wrists. I need help, and you are just the person to give it. You have had nothing to do with horses yet, Isabella tells me; but you are half a Centaur yourself. Set to work on the steeds now, and when you have progressed far enough, you shall transfer these sketches to the ceiling and walls of the riding-school. I will help you perfect the thing, and give it the finishing touch."

This invitation aroused more perplexity than pleasure in Ulrich's mind, for it was not in accordance with Moor's opinions. Fear of his fellow-men no longer restrained him, so he frankly said that he would rather sketch industriously from nature, and perhaps would do well to seek Moor in Flanders. Besides, he was afraid that Coello greatly overrated his powers.

But the Spaniard eagerly cut him short:

"I have seen your portrait of Sophonisba. You are no longer a pupil, but a rising artist. Moor is a peerless portrait-painter, and you have profited greatly by his teaching. But Art has still higher aims. Every living thing belongs to her. The Venus, the horse . . . which of those two pictures won Apelles the greater fame? Not only copying, but creating original ideas, leads to the pinnacle of art. Moor praised your vivid imagination. We must use what we possess. Remember Buonarotti, Raphael! Their compositions and frescos, have raised their names above all others. Antonio has tormented you sufficiently with drawing lifeless things. When you transfer these sketches, many times enlarged, to a broad surface, you will learn more than in years of copying plaster-casts. A man must have talent, courage and industry; everything else comes of its own accord, and thank Heaven, you're a lucky fellow! Look at my horses—they are not so bad, yet I never sketched a living one in my life till I was commissioned to paint His Majesty on horseback. You shall have a better chance. Go to the stables and the old riding-school to-morrow. First try noble animals, then visit the market and shambles, and see how the knackers look. If you make good speed, you shall soon see the first ducats you yourself have earned." The golden reward possessed little temptation for Ulrich, but he allowed himself to be persuaded by his senior, and drew and painted horses and mares with pleasure and success, working with Isabella and Coello's pupil, Felice de Liano, when they sketched and painted from living models. When the scaffolding was erected in the winter riding-school, he went there under the court-artist's direction, to measure, arrange and finally transfer the painter's sketches to the wide surfaces.

He did this with increasing satisfaction, for though Coello's sketches possessed a certain hardness, they were boldly devised and pleased him.

The farther he progressed, the more passionately interested he became in his work. To create on a grand scale delighted him, and the fully occupied life, as well as the slight fatigue after his work was done, which was sweetened by the joy of labor accomplished, were all beautiful, enjoyable things; yet Ulrich felt that this was not exactly the right course, that a steeper, more toilsome path must lead to the height he desired to attain.

He lacked the sharp spurring to do better and better, the censure of a master, who was greatly his superior. Praise for things, which did not satisfy himself, vexed him and roused his distrust.

Isabella, and—after his return—Sophonisba, were his confidantes.

The former had long felt what he now expressed. Her young heart clung to him, but she loved in him the future great artist as much as the man. It was certainly no light matter for her to be deprived of Ulrich's society, yet she unselfishly admitted that her father, in the vast works he had undertaken, could not be a teacher like Moor, and it would probably be best for him to seek his old master in Flanders, as soon as his task in the riding-school was completed.

She said this, because she believed it to be her duty, though sadly and anxiously; but he joyously agreed with her, for Sophonisba had handed him a letter from the master, in which the latter cordially invited him to come to Antwerp.

Don Fabrizio's wife summoned him to her palace, and Ulrich found her as kind and sympathizing as when she had been a girl, but her gay, playful manner had given place to a more quiet dignity.

She wished to be told in detail all he had suffered for Moor, how he employed himself, what he intended to do in the future; and she even sought him more than once in the riding-school, watched him at his work, and examined his drawings and sketches.

Once she induced him to tell her the story of his youth.

This was a boon to Ulrich; for, although we keep our best treasures most closely concealed, yet our happiest hours are those in which, with the certainty of being understood, we are permitted to display them.

The youth could show this noble woman, this favorite of the Master, this artist, what he would not have confided to any man, so he permuted her to behold his childhood, and gaze deep into his soul.

He did not even hide what he knew about the "word"—that he believed he had found the right one in the dungeon, and that Art would remain his guiding star, as long as he lived.

Sophonisba's cheeks flushed deeper and deeper, and never had he seen her so passionately excited, so earnest and enthusiastic, as now when she exclaimed:

"Yes, Ulrich, yes! You have found the right word!

"It is Art, and no other. Whoever knows it, whoever serves it, whoever impresses it deeply on his soul and only breathes and moves in it, no longer has any taint of baseness; he soars high above the earth, and knows nothing of misery and death. It is with Art the Divinity bridges space and descends to man, to draw him up ward to brighter worlds. This word transfigures everything, and brings fresh green shoots even from the dry wood of souls defrauded of love and hope. Life is a thorny rose-bush, and Art its flower. Here Mirth is melancholy—Joy is sorrowful and Liberty is dead. Here Art withers and—like an exotic—is prevented perishing outright only by artificial culture. But there is a land, I know it well, for it is my home—where Art buds and blossoms and throws its shade over all the highways. Favorite of Antonio, knight of the Word—you must go to Italy!"

Sophonisba had spoken. He must go to Italy. The home of Titian! Raphael! Buonarotti! where also the Master went to school.

"Oh, Word, Word!" he cried exultingly in his heart. "What other can disclose, even on earth, such a glimpse of the joys of Paradise."

When he left Sophonisba, he felt as if he were intoxicated.

What still detained him in Madrid?

Moor's zechins were not yet exhausted, and he was sure of the assistance of the "word" upon the sacred soil of Italy.

He unfolded his plan to Coello without delay, at first modestly, then firmly and defiantly. But the court-artist would not let him go. He knew how to maintain his composure, and even admitted that Ulrich must travel, but said it was still too soon. He must first finish the work he had undertaken in the riding-school, then he himself would smooth the way to Italy for him. To leave him, so heavily burdened, in the lurch now, would be treating him ungratefully and basely.

Ulrich was forced to acknowledge this, and continued to paint on the scaffold, but his pleasure in creating was spoiled. He thought of nothing but Italy.

Every hour in Madrid seemed lost. His lofty purposes were unsettled, and he began to seek diversion for his mind, especially at the fencing-school with Sanchez Coello.

His eye was keen, his wrist pliant, and his arm was gaining more and more of his father's strength, so he soon performed extraordinary feats.

His remarkable skill, his reserved nature, and the natural charm of his manner soon awakened esteem and regard among the young Spaniards, with whom he associated.

He was invited to the banquets given by the wealthier ones, and to join the wild pranks, in which they sometimes indulged, but spite of persuasions and entreaties, always in vain.

Ulrich needed no comrades, and his zechins were sacred to him; he was keeping them for Italy.

The others soon thought him an odd, arrogant fellow, with whom no friendly ties could be formed, and left him to his own resources. He wandered about the streets at night alone, serenaded fair ladies, and compelled many gentlemen, who offended him, to meet him in single combat.

No one, not even Sanchez Coello, was permitted to know of these nocturnal adventures; they were his chief pleasure, stirred his blood, and gave him the blissful consciousness of superior strength.

This mode of life increased his self-confidence, and expressed itself in his bearing, which gained a touch of the Spanish air. He was now fully grown, and when he entered his twentieth year, was taller than most Castilians, and carried his head as high as a grandee.

Yet he was dissatisfied with himself, for he made slow progress in his art, and cherished the firm conviction that there was nothing more for him to learn in Madrid; Coello's commissions were robbing him of the most precious time.

The work in the riding-school was at last approaching completion. It had occupied far more than the year in which it was to have been finished, and His Majesty's impatience had become so great, that Coello was compelled to leave everything else, to paint only there, and put his improving touches to Ulrich's labor.

The time for departure was drawing near. The hanging-scaffold, on which he had lain for months, working on the master's pictures, had been removed, but there was still something to be done to the walls.

Suddenly the court-artist was ordered to suspend the work, and have the beams, ladders and boards, which narrowed the space in the picadero,—[Riding School]—removed.

The large enclosure was wanted during the next few days for a special purpose, and there were new things for Coello to do.

Don Juan of Austria, the king's chivalrous half-brother, had commenced his heroic career, and vanquished the rebellious Moors in Granada. A magnificent reception was to be prepared for the young conqueror, and Coello received the commission to adorn a triumphal arch with hastily-sketched, effective pictures.

The designs were speedily completed, and the triumphal arch erected in a court-yard of the Alcazar, for here, within the narrow circle of the court, not publicly, before the whole population, had the suspicious monarch resolved to receive and honor the victor.

Ulrich had again assisted Coello in the execution of his sketches. Everything was finished at the right time, and Don Juan's reception brilliantly carried out with great pomp and dignity, through the whole programme of a Te Deum and three services, processions, bull-fights, a grand 'Auto-da-fe', and a tournament.

After this festival, the king again resigned the riding-school to the artists, who instantly set to work. Everything was finished except the small figures at the bottom of the larger pictures, and these could be executed without scaffolding.

Ulrich was again standing on the ladder, for the first time after this interruption, and Coello had just followed him into the picadero, when a great bustle was heard outside.

The broad doors flew open, and the manege was soon filled with knights and ladies on foot and horseback.

The most brilliant figures in all the stately throng were Don Juan himself, and his youthful nephew, Alexander Farnese, Prince of Parma.

Ulrich feasted his eyes on the splendid train, and the majestic, haughty, yet vivacious manner of the conqueror.

Never in his life, he thought, had he seen a more superb youthful figure. Don Juan stopped directly opposite to him, and bared his head. The thick, fair hair brushed back behind his ears, hung in wonderfully soft, waving locks down to his neck, and his features blended feminine grace with manly vigor.

As, hat in hand, he swung himself from the saddle, unassisted, to greet the fair duchess of Medina Celi, there was such a charm in his movements, that the young artist felt inclined to believe all the tales related of the successful love affairs of this favorite of fortune, who was the son of the Emperor Charles, by a German washerwoman.

Don Juan graciously requested his companion to retire to the back of the manege, assisted the ladies from their saddles and, offering his hand to the duchess, led her to the dais, then returning to the ring, he issued some orders to the mounted officers in his train, and stood conversing with the ladies, Alexander Farnese, and the grandees near him.

Loud shouts and the tramp of horses hoofs were now heard outside of the picadero, and directly after nine bare-backed horses were led into the ring, all selected animals of the best blood of the Andalusian breed, the pearls of all the horses Don Juan had captured.

Exclamations and cries of delight echoed through the building, growing louder and warmer, when the tenth and last prize, a coal-black young stallion, dragged the sinewy Moors that led him, into the ring, and rearing lifted them into the air with him.

The brown-skinned young fellows resisted bravely; but Don Juan turning to Alexander Farnese, said: "What a superb animal! but alas, alas, he has a devilish temper, so we have called him Satan. He will bear neither saddle nor rider. How dare I venture . . . there he rears again. . . . It is quite impossible to offer him to His Majesty. Just look at those eyes, those crimson nostrils. A perfect monster!"

"But there cannot be a more beautiful creature!" cried the prince, warmly. "That shining black coat, the small head, the neck, the croup, the carriage of his tail, the fetlocks and hoofs. Oh, oh, that was serious!" The vicious stallion had reared for the third time, pawing wildly with his fore-legs, and in so doing struck one of the Moors. Shrieking and wailing, the latter fell on the ground, and directly after the animal released itself from the second groom, and now dashed freely, with mighty leaps, around the course, rushing hither and thither as if mad, kicking furiously, and hurling sand and dust into the faces of the ladies on the dais. The latter shrieked loudly, and their screams increased the animal's furious excitement. Several gentlemen drew back, and the master of the horse loudly ordered the other barebacked steeds to be led away.

Don Juan and Alexander Farnese stood still; but the former drew his sword, exclaiming, vehemently:

"Santiago! I'll kill the brute!"

He was not satisfied with words, but instantly rushed upon the stallion; the latter avoiding him, bounded now backward, now sideways, at every fresh leap throwing sand upon the dais.

Ulrich could remain on the ladder no longer.

Fully aware of his power over refractory horses, he boldly entered the ring and walked quietly towards the snorting, foaming steed. Driving the animal back, and following him, he watched his opportunity, and as Satan turned, reached his side and boldly seized his nostrils firmly with his hand.

Satan plunged more and more furiously, but the smith's son held him as firmly as if in a vise, breathed into his nostrils, and stroked his head and muzzle, whispering soothing words.

The animal gradually became quieter, tried once more to release himself from his tamer's iron hand, and when he again failed, began to tremble and meekly stood still with his fore legs stretched far apart.

"Bravo! Bravamente!" cried the duchess, and praise from such lips intoxicated Ulrich. The impulse to make a display, inherited from his mother, urged him to take still greater risks. Carefully winding his left hand in the stallion's mane, he released his nostrils and swung himself on his back. Taken by surprise Satan tried to rid himself of his burden, but the rider sat firm, leaned far over the steed's neck, stroked—his head again, pressed his flanks and, after the lapse of a few minutes, guided him merely by the pressure of his thighs first at a walk, then at a trot over the track. At last springing off, he patted Satan, who pranced peacefully beside him, and led him by the bridle to Don Juan.

The latter measured the tall, brave fellow with a hasty glance, and turning, half to him, half to Alexander Farnese, said:

"An enviable trick, and admirable performance, by my love!"

Then he approached the stallion, stroked and patted his shining neck, and continued:

"I thank you, young man. You have saved my best horse. But for you I should have stabbed him. You are an artist?"

"At your service, Your Highness."

"Your art is beautiful, and you alone know how it suits you. But much honor, perhaps also wealth and fame, can be gained among my troopers. Will you enlist?"

"No, Your Highness," replied Ulrich, with a low bow. "If I were not an artist, I should like best to be a soldier; but I cannot give up my art."

"Right, right! Yet . . . do you think your cure of Satan will be lasting; or will the dance begin again to-morrow?"

"Perhaps so; but grant me a week, Your Highness, and the swarthy fellows can easily manage him. An hour's training like this every morning, and the work will be accomplished. Satan will scarcely be transformed into an angel, but probably will become a perfectly steady horse."

"If you succeed," replied Don Juan, joyously, "you will greatly oblige me. Come to me next week. If you bring good tidings . . . consider meantime, how I can serve you."

Ulrich did not need to consider long. A week would pass swiftly, and then—then the king's brother should send him to Italy. Even his enemies knew that he was liberal and magnanimous.

The week passed away, the horse was tamed and bore the saddle quietly. Don Juan received Ulrich's petition kindly, and invited him to make the journey on the admiral's galley, with the king's ambassador and his secretary, de Soto.

The very same day the happy artist obtained a bill of exchange on a house on the Rialto, and now it was settled, he was going to Italy.

Coello was obliged to submit, and his kind heart again showed itself; for he wrote letters of introduction for Ulrich to his old artist friends in Venice, and induced the king to send the great Titian a present—which the ambassador was to deliver. The court-artist obtained from the latter a promise to present his pupil Navarrete to the grey-Haired prince of artists.

Everything was now ready for departure; Ulrich again packed his belongings in the studio, but with very different feelings from the first time.

He was a man, he now knew what the right "word" was, life lay open before him, and the paradise of Art was about to unclose its gates.

The studies he had finished in Madrid aroused his compassion; in Italy he would first really begin to become an artist: there work must bring him what it had here denied: satisfaction, success! Gay as a boy, half frantic with joy, happiness and expectation, he crushed the sketches, which seemed to him too miserable, into the waste-paper basket with a maul-stick.

During this work of destruction, Isabella entered the room.

She was now sixteen. Her figure had developed early, but remained petite. Large, deep, earnest eyes looked forth from the little round face, and the fresh, tiny mouth could not help pleasing everyone. Her head now reached only to Ulrich's breast, and if he had always treated her like a dear, sensible, clever child, her small stature had certainly been somewhat to blame for it. To-day she was paler than usual and her features were so grave, that the young man asked her in surprise, yet full of sympathy:

"What is the matter, little one? Are you not well?"

"Yes, yes," she answered, quickly, "only I must talk with you once more alone."

"Do you wish to hear my confession, Belita?"

"Cease jesting now. I am no longer a child. My heart aches, and I must not conceal the cause."

"Speak, speak! How you look! One might really be alarmed."

"If I only can! No one here tells you the truth; but I—I love you; so I will do it, ere it is too late. Don't interrupt me now, or I shall lose courage, and I will, I must speak."

"My studies lately have not pleased you; nor me either. Your father. . . ."

"He has led you in false paths, and now you are going to Italy, and when you see what the greatest artists have created, you will wish to imitate them immediately and forget Meister Moor's lessons. I know you, Ulrich, I know it! But I also know something else, and it must now be said frankly. If you allow yourself to be led on to paint pictures, if you do not submit to again become a modest pupil, and honestly torment yourself with studying, you will make no progress, you will never again accomplish a portrait like the one in the old days, like your Sophonisba. You will then be no great artist and you can, you must become one."

"I will, Belita, I will!"

"Well, well; but first be a pupil! If I were in your place, I would, for aught I care, go to Venice and look about me, but from there I would ride to Flanders, to Moor, to the master."

"Give up Italy? Can you be in earnest? Your father, himself, told me, that I . . . well, yes . . . in portrait-painting, he too thinks I am no blunderer. Where do the Netherlanders go to learn anything new? To Italy, always to Italy! What do they create in Flanders? Portraits, portraits, nothing more. Moor is great, very great in this department, but I take a very different view of art; it has higher aims. My head is full of plans. Wait, only wait! In Italy I shall learn to fly, and when I have finished my Holy Family and my Temple of Art, with all the skill I intend to attain. . . ."

"Then, then, what will happen then?"

"Then you will perhaps change your opinion and cease your tutoring, once for all. This fault-finding, this warning vexes me. It spoils my pleasure, it clouds my fancy. You are poisoning my happiness, you—you . . . the croaker's voice is disagreeable to me."

Isabella sadly bent her head in silence. Ulrich approached her, saying:

"I do not wish to wound you, Belita; indeed, I do not. You mean well, and you love me, a poor forsaken fellow; do you not, little girl?"

"Yes, Ulrich, and that is just why I have told you what I think. You are rejoicing now in the thought of Italy. . . ."

"Very, very much, unspeakably! There, too, I will remember you, and what a dear, faithful, wise little creature you are. Let us part in friendship, Isabella. Come with me; that would be the best way!"

The young girl flushed deeply, and made no answer except: "How gladly I would!"

The words sounded so affectionate and came so tenderly from the inmost depths of the heart, that they entered his soul. And while she spoke, her eyes gazed so faithfully, lovingly, and yearningly into his, that he saw nothing else. He read in them love, true, self-sacrificing love; not like pretty Carmen's or that given by the ladies, who had thrown flowers to him from their balconies. His heart swelled, and when he saw how the flush on Isabella's dear face deepened under his answering glance, unspeakable gratitude and joy seized upon him, and he could not help clasping her in his arms and drawing her into his embrace.

She permitted it, and when she looked up at him and her soft scarlet lips, from which gleamed two rows of dazzling white teeth, bloomed temptingly near him, he bent his, he knew not how, towards them. They kissed each other again and again, and Isabella flung her little hands around his neck, for she could not reach him with her arms, and said she had always loved him; he assured her in an agitated voice that he believed it, and that there was no better, sweeter, brighter creature on earth than she; only he forgot to say that he loved her. She gave, he received, and it seemed to him natural.

She saw and felt nothing except him and her happiness; he was wholly absorbed by the bliss of being loved and the sweetness of her kiss; so neither noticed that Coello had opened the door and watched them for a minute, with mingled wrath and pleasure, irresolutely shaking his head.

When the court-artist's deep voice exclaimed loudly:

"Why, why, these are strange doings!" they hastily started back.

Startled, sobered, confused, Ulrich sought for words, and at last stammered:

"We have, we wanted . . . the farewell. . . . Coello found no time to interrupt him, for his daughter had thrown herself on his breast, exclaiming amid tears:

"Forgive us, father-forgive us; he loves me, and I, I love him so dearly, and now that we belong to each other, I am no longer anxious about him, he will not rest, and when he returns. . . ."

"Enough, enough!" interrupted Coello, pressing his hand upon her mouth. "That is why a duenna is kept for the child; and this is my sensible Belita! It is of no importance, that yonder youth has nothing, I myself courted your mother with only three reales in my pocket, but he cannot yet do any really good work, and that alters the case. It is not my way to dun debtors, I have been in debt too often myself for that; but you, Navarrete, have received many favors from me, when you were badly off, and if you are not a scamp, leave the girl in peace and do not see her again before your departure. When you have studied in Italy and become a real artist, the rest will take care of itself. You are already a handsome, well-formed fellow, and my race will not degenerate in you. There are very different women in Italy, from this dear little creature here. Shut your eyes, and beware of breaking her heart. Your promise! Your hand upon it! In a year and a half from to-day come here again, show what you can do, and stand the test. If you have become what I hope, I'll give her to you; if not, you can quietly go your way. You will make no objection to this, you silly little, love-sick thing. Go to your room now, Belita, and you, Navarrete, come with me."

Ulrich followed the artist to his chamber, where the latter opened a chest, in which lay the gold he had earned. He did not know himself, how much it was, for it was neither counted, nor entered in books. Grasping the ducats, he gave Ulrich two handfuls, exclaiming:

"This one is for your work here, the other to relieve you from any care concerning means of living, while pursuing your studies in Venice and Florence. Don't make the child wretched, my lad; if you do, you will be a contemptible, dishonorable rascal, a scoundrel, a . . . but you don't look like a rogue!"

There was a great deal of bustle in Coello's house that evening. The artist's indolent wife was unusually animated. She could not control her surprise and wrath. Isabella had been from childhood a great favorite of Herrera, the first architect in Spain, who had already expressed his love for the young girl, and now this vagabond pauper, this immature boy, had come to destroy the prosperity of her child's life.

She upbraided Coello with being faithless to his paternal duty, and called him a thoughtless booby. Instead of turning the ungrateful rascal out of the house, he, the dunce, had given him hopes of becoming her poor, dazzled, innocent daughter's husband. During the ensuing weeks, Senora Petra prepared Coello many bad days and still worse nights; but the painter persisted in his resolution to give Isabella to Ulrich, if in a year and a half he returned from Italy a skilful artist.


Among fools one must be a fool


By Georg Ebers

Volume 4.


The admiral's ship, which bore King Philip's ambassador to Venice, reached its destination safely, though it had encountered many severe storms on the voyage, during which Ulrich was the only passenger, who amid the rolling and pitching of the vessel, remained as well as an old sailor.

But, on the other hand his peace of mind was greatly impaired, and any one who had watched him leaning over the ship's bulwark, gazing into the sea, or pacing up and down with restless bearing and gloomy eyes, would scarcely have suspected that this reserved, irritable youth, who was only too often under the dominion of melancholy moods, had won only a short time before a noble human heart, and was on the way to the realization of his boldest dreams, the fulfilment of his most ardent wishes.

How differently he had hoped to enter "the Paradise of Art!"

Never had he been so free, so vigorous, so rich, as in the dawn of the day, at whose close he was to unite Isabella's life with his own—and now—now!

He had expected to wander through Italy from place to place as untrammelled, gay, and free as the birds in the air; he had desired to see, admire, en joy, and after becoming familiar with all the great artists, choose a new master among them. Sophonisba's home was to have become his, and it had never entered his mind to limit the period of his enjoyment and study on the sacred soil.

How differently his life must now be ordered! Until he went on board of the ship in Valencia, the thought of calling a girl so good, sensible and loving as Isabella his own, rejoiced and inspired him, but during the solitary hours a sea-voyage so lavishly bestows, a strange transformation in his feelings occurred.

The wider became the watery expanse between him and Spain, the farther receded Isabella's memory, the less alluring and delightful grew the thought of possessing her hand.

He now told himself that, before the fatal hour, he had rejoiced at the anticipation of escaping her pedantic criticism, and when he looked forward to the future and saw himself, handsome Ulrich Navarrete, whose superior height filled the smaller Castilians with envy, walking through the streets with his tiny wife, and perceived the smiles of the people they met, he was seized with fierce indignation against himself and his hard fate.

He felt fettered like the galley-slaves, whose chains rattled and clanked, as they pulled at the oars in the ship's waist. At other times he could not help recalling her large, beautiful, love-beaming eyes, her soft, red lips, and yearningly confess that it would have been sweet to hold her in his arms and kiss her, and, since he had forever lost his Ruth, he could find no more faithful, sensible, tender wife than she.

But what should he, the student, the wandering disciple of Art, do with a bride, a wife? The best and fairest of her sex would now have seemed to him an impediment, a wearisome clog. The thought of being obliged to accomplish some fixed task within a certain time, and then be subjected to an examination, curbed his enjoyment, oppressed, angered him.

Grey mists gathered more and more densely over the sunny land, for which he had longed with such passionate ardor, and it seemed as if in that luckless hour, he had been faithless to the "word,"—had deprived himself of its assistance forever.

He often felt tempted to send Coello his ducats and tell him he had been hasty, and cherished no desire to wed his daughter; but perhaps that would break the heart of the poor, dear little thing, who loved him so tenderly! He would be no dishonorable ingrate, but bear the consequences of his own recklessness.

Perhaps some miracle would happen in Italy, Art's own domain. Perhaps the sublime goddess would again take him to her heart, and exert on him also the power Sophonisba had so fervently praised.

The ambassador and his secretary, de Soto, thought Ulrich an unsocial dreamer; but nevertheless, after they reached Venice, the latter invited him to share his lodgings, for Don Juan had requested him to interest himself in the young artist.

What could be the matter with the handsome fellow? The secretary tried to question him, but Ulrich did not betray what troubled him, only alluding in general terms to a great anxiety that burdened his mind.

"But the time is now coming when the poorest of the poor, the most miserable of all forsaken mortals, cast aside their griefs!" cried de Soto. "Day after to morrow the joyous Carnival season will begin! Hold up your head, young man! Cast your sorrows into the Grand Canal, and until Ash-Wednesday, imagine that heaven has fallen upon earth!"

Oh! blue sea, that washes the lagunes, oh! mast-thronged Lido, oh! palace of the Doges, that chains the eye, as well as the backward gazing, mind, oh! dome of St. Mark, in thy incomparable garb of gold and paintings, oh! ye steeds and other divine works of bronze, ye noble palaces, for which the still surface of the placid water serves as a mirror, thou square of St. Mark, where, clad in velvet, silk and gold, the richest and freest of all races display their magnificence, with just pride! Thou harbor, thou forest of masts, thou countless fleet of stately galleys, which bind one quarter of the globe to another, inspiring terror, compelling obedience, and gaining boundless treasures by peaceful voyages and with shining blades. Oh! thou Rialto, where gold is stored, as wheat and rye are elsewhere;—ye proud nobles, ye fair dames with luxuriant tresses, whose raven hue pleases ye not, and which ye dye as bright golden as the glittering zechins ye squander with such small, yet lavish hands! Oh! Venice, Queen of the sea, mother of riches, throne of power, hall of fame, temple of art, who could escape thy spell!

What wanton Spring is to the earth, thy carnival season is to thee! It transforms the magnificence of color of the lagune-city into a dazzling radiance, the smiles to Olympic laughter, the love-whispers to exultant songs, the noisy, busy life of the mighty commercial city into a mad whirlpool, which draws everything into its circle, and releases nothing it has once seized.

De Soto urged and pushed the youth, who had already lost his mental equipoise, into the midst of the gulf, ere he had found the right current.

On the barges, amid the throngs in the streets, at banquets, in ball-rooms, at the gaming-table, everywhere, the young, golden-haired, superbly-dressed artist, who was on intimate terms with the Spanish king's ambassador, attracted the attention of men, and the eyes, curiosity and admiration of the women; though people as yet knew not whence he came.

He chose the tallest and most stately of the slender dames of Venice to lead in the dance, or through the throng of masks and citizens intoxicated with the mirth of the carnival. Whithersoever he led the fairest followed.

He wished to enjoy the respite before execution. To forget—to forget—to indemnify himself for future seasons of sacrifice, dulness, self-conquest, torment.

Poor little Isabella! Your lover sought to enjoy the sensation of showing himself to the crowd with the stateliest woman in the company on his arm! And you, Ulrich, how did you feel when people exclaimed behind you: "A splendid pair! Look at that couple!"

Amid this ecstasy, he needed no helping word, neither "fortune" nor "art;" without any magic spell he flew from pleasure to pleasure, through every changing scene, thinking only of the present and asking no questions about the future.

Like one possessed he plunged into passion's wild whirl. From the embrace of beautiful arms he rushed to the gaming-table, where the ducats he flung down soon became a pile of gold; the zechins filled his purse to overflowing.

The quickly-won treasure melted like snow in the sun, and returned again like stray doves to their open cote.

The works of art were only enjoyed with drunken eyes—yet, once more the gracious word exerted its wondrous power on the misguided youth.

On Shrove-Tuesday, the ambassador took Ulrich to the great Titian.

He stood face to face with the mighty monarch of colors, listened to gracious words from his lips, and saw the nonogenarian, whose tall figure was scarcely bowed, receive the king's gifts.

Never, never, to the close of his existence could he forget that face!

The features were as delicately and as clearly outlined, as if cut with an engraver's chisel from hard metal; but pallid, bloodless, untinged by the faintest trace of color. The long, silver-white beard of the tall venerable painter flowed in thick waves over his breast, and the eyes, with which he scanned Ulrich, were those of a vigorous, keen-sighted man. His voice did not sound harsh, but sad and melancholy; deep sorrow shadowed his glance, and stamped itself upon the mouth of him, whose thin, aged hand still ensnared the senses easily and surely with gay symphonies of color!

The youth answered the distinguished Master's questions with trembling lips, and when Titian invited him to share his meal, and Ulrich, seated at the lower end of the table in the brilliant banqueting-hall, was told by his neighbors with what great men he was permitted to eat, he felt so timid, small, and insignificant, that he scarcely ventured to touch the goblets and delicious viands the servants offered.

He looked and listened; distinguishing his old master's name, and hearing him praised without stint as a portrait-painter. He was questioned about him, and gave confused answers.

Then the guests rose.

The February sun was shining into the lofty window, where Titian seated himself to talk more gaily than before with Paolo Cagliari, Veronese, and other great artists and nobles.

Again Ulrich heard Moor mentioned. Then the old man, from whom the youth had not averted his eyes for an instant, beckoned, and Cagliari called him, saying that he, the gallant Antonio Moor's pupil, must now show what he could do; the Master, Titian, would give him a task.

A shudder ran through his frame; cold drops of perspiration, extorted by fear, stood on his brow.

The old man now invited him to accompany his nephew to the studio. Daylight would last an hour longer. He might paint a Jew; no usurer nor dealer in clothes, but one of the noble race of prophets, disciples, apostles.

Ulrich stood before the easel.

For the first time after a long period he again called upon the "word," and did so fervently, with all his heart. His beloved dead, who in the tumult of carnival mirth had vanished from his memory, again rose before his mind, among them the doctor, who gazed rebukingly at him with his clear, thoughtful eyes.

Like an inspiration a thought darted through the youth's brain. He could and would paint Costa, his friend and teacher, Ruth's father.

The portrait he had drawn when a boy appeared before his memory, feature for feature. A red pencil lay close at hand.

Sketching the outlines with a few hasty strokes, he seized the brush, and while hurriedly guiding it and mixing the colors, he saw in fancy Costa standing before him, asking him to paint his portrait.

Ulrich had never forgotten the mild expression of the eyes, the smile hovering about the delicate lips, and now delineated them as well as he could. The moments slipped by, and the portrait gained roundness and life. The youth stepped back to see what it still needed, and once more called upon the "word" from the inmost depths of his heart; at the same instant the door opened, and leaning on a younger painter, Titian, with several other artists, entered the studio.

He looked at the picture, then at Ulrich, and said with an approving smile: "See, see! Not too much of the Jew, and a perfect apostle! A Paul, or with longer hair and a little more youthful aspect, an admirable St. John. Well done, well done! my son!"

Well done, well done! These words from Titian had ennobled his work; they echoed loudly in his soul, and the measure of his bliss threatened to overflow, when no less a personage than the famous Paolo Veronese, invited him to come to his studio as a pupil on Saturday.

Enraptured, animated by fresh hope, he threw himself into his gondola.

Everyone had left the palace, where he lodged with de Soto. Who would remain at home on the evening of Shrove-Tuesday?

The lonely rooms grew too confined for him.

Quiet days would begin early the next morning, and on Saturday a new, fruitful life in the service of the only true word, Art, divine Art, would commence for him. He would enjoy this one more evening of pleasure, this night of joy; drain it to the dregs. He fancied he had won a right that day to taste every bliss earth could give.

Torches, pitch-pans and lamps made the square of St. Mark's as bright as day, and the maskers crowded upon its smooth pavement as if it were the floor of an immense ball-room.

Intoxicating music, loud laughter, low, tender whispers, sweet odors from the floating tresses of fair women bewildered Ulrich's senses, already confused by success and joy. He boldly accosted every one, and if he suspected that a fair face was concealed under a mask, drew nearer, touched the strings of a lute, that hung by a purple ribbon round his neck, and in the notes of a tender song besought love.

Many a wave of the fan rewarded, many an angry glance from men's dark eyes rebuked the bold wooer. A magnificent woman of queenly height now passed, leaning on the arm of a richly-dressed cavalier.

Was not that the fair Claudia, who a short time before had lost enormous sums at the gaming-table in the name of the rich Grimani, and who had invited Ulrich to visit her later, during Lent?

It was, he could not be mistaken, and now followed the pair like a shadow, growing bolder and bolder the more angrily the cavalier rebuffed him with wrathful glances and harsh words; for the lady did not cease to signify that she recognized him and enjoyed his playing. But the nobleman was not disposed to endure this offensive sport. Pausing in the middle of the square, he released his arm with a contemptuous gesture, saying: "The lute-player, or I, my fair one; you can decide——"

The Venetian laughed loudly, laid her hand on Ulrich's arm and said: "The rest of the Shrove-Tuesday night shall be yours, my merry singer."

Ulrich joined in her gayety, and taking the lute from his neck, offered it to the cavalier, with a defiant gesture, exclaiming:

"It's at your disposal, Mask; we have changed parts. But please hold it firmer than you held your lady." High play went on in the gaming hall; Claudia was lucky with the artist's gold.

At midnight the banker laid down the cards. It was Ash-Wednesday, the hall must be cleared; the quiet Lenten season had begun.

The players withdrew into the adjoining rooms, among them the much-envied couple.

Claudia threw herself upon a couch; Ulrich left her to procure a gondola.

As soon as he was gone, she was surrounded by a motley throng of suitors.

How the beautiful woman's dark eyes sparkled, how the gems on her full neck and dazzling arms glittered, how readily she uttered a witty repartee to each gay sally.

"Claudia unaccompanied!" cried a young noble. "The strangest sight at this remarkable carnival!"

"I am fasting," she answered gaily; "and now that I long for meagre food, you come! What a lucky chance!"

"Heavy Grimani has also become a very light man, with your assistance."

"That's why he flew away. Suppose you follow him?"

"Gladly, gladly, if you will accompany me."

"Excuse me to-day; there comes my knight."

Ulrich had remained absent a long time, but Claudia had not noticed it. Now he bowed to the gentlemen, offered her his arm, and as they descended the staircase, whispered: "The mask who escorted you just now detained me;—and there . . . see, they are picking him up down there in the court-yard.—He attacked me. . . ."

"You have—you. . . ."

"'They came to his assistance immediately. He barred my way with his unsheathed blade."

Claudia hastily drew her hand from the artist's arm, exclaiming in a low, anxious tone: "Go, go, unhappy man, whoever you may be! It was Luigi Grimani; it was a Grimani! You are lost, if they find you. Go, if you love your life, go at once!"

So ended the Shrove-Tuesday, which had begun so gloriously for the young artist. Titian's "well done" no longer sounded cheerfully in his ears, the "go, go," of the venal woman echoed all the more loudly.

De Soto was waiting for him, to repeat to him the high praise he had heard bestowed upon his art-test at Titian's; but Ulrich heard nothing, for he gave the secretary no time to speak, and the latter could only echo the beautiful Claudia's "go, go!" and then smooth the way for his flight.

When the morning of Ash-Wednesday dawned cool and misty, Venice lay behind the young artist. Unpursued, but without finding rest or satisfaction, he went to Parma, Bologna, Pisa, Florence.

Grimani's death burdened his conscience but lightly. Duelling was a battle in miniature, to kill one's foe no crime, but a victory. Far different anxieties tortured him.

Venice, whither the "word" had led him, from which he had hoped and expected everything, was lost to him, and with it Titian's favor and Cagliari's instruction.

He began to doubt himself, his future, the sublime word and its magic spell. The greater the works which the traveller's eyes beheld, the more insignificant he felt, the more pitiful his own powers, his own skill appeared.

"Draw, draw!" advised every master to whom he applied, as soon as he had seen his work. The great men, to whom he offered himself as a pupil, required years of persevering study. But his time was limited, for the misguided youth's faithful German heart held firmly to one resolve; he must present himself to Coello at the end of the appointed time. The happiness of his life was forfeited, but no one should obtain the right to call him faithless to his word, or a scoundrel.

In Florence he heard Sebastiano Filippi—who had been a pupil of Michael Angelo-praised as a good drawer; so he sought him in Ferrara and found him ready to teach him what he still lacked. But the works of the new master did not please him. The youth, accustomed to Moor's wonderful clearness, Titian's brilliant hues, found Filippi's pictures indistinct, as if veiled by grey mists. Yet he forced himself to remain with him for months, for he was really remarkably skilful in drawing, and his studio never lacked nude models; he needed them for the preliminary studies for his "Day of Judgment."

Without satisfaction, without pleasure in the wearisome work, without love for the sickly master, who held aloof from any social intercourse with him when the hours of labor were over, he felt discontented, bored, disenchanted.

In the evening he sought diversion at the gaming-table, and fortune favored him here as it had done in Venice. His purse overflowed with zechins; but with the red gold, Art withdrew from him her powerful ally, necessity, the pressing need of gaining a livelihood by the exertion of his own strength.

He spent the hours appointed for study like a careless lover, and worked without inclination, without pleasure, without ardor, yet with visible increase of skill.

In gambling he forgot what tortured him, it stirred his blood, dispelled weariness; the gold was nothing to him.

The lion's share of his gains he loaned to broken gamblers, without expectation of return, gave to starving artists, or flung with lavish hand to beggars.

So the months in Ferrara glided by, and when the allotted time was over, he took leave of Sebastiano Filippi without regret. He returned by sea to Spain, and arrived in Madrid richer than he had gone away, but with impoverished confidence in his own powers, and doubting the omnipotence of Art.


Ulrich again stood before the Alcazar, and recalled the hour when, a poor lad, just escaped from prison, he had been harshly rebuffed by the same porter, who now humbly saluted the young gentleman attired in costly velvet.

And yet how gladly he would have crossed this threshold poor as in those days, but free and with a soul full of enthusiasm and hope; how joyfully he would have effaced from his life the years that lay between that time and the present.

He dreaded meeting the Coellos; nothing but honor urged him to present himself to them.

Yes—and if the old man rejected him?—so much the better!

The old cheerful confusion reigned in the studio. He had a long time to wait there, and then heard through several doors Senora Petra's scolding voice and her husband's angry replies.

At last Coello came to him and after greeting him, first formally, then cordially, and enquiring about his health and experiences, he shrugged his shoulders, saying:

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