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+The Project Gutenberg EBook A Word Only A Word, by Georg Ebers, v3
+#135 in our series by Georg Ebers
+
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+Title: A Word Only A Word, Volume 3.
+
+Author: Georg Ebers
+
+Release Date: April, 2004  [EBook #5574]
+[Yes, we are more than one year ahead of schedule]
+[This file was first posted on August 12, 2002]
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+*** START OF THE PROJECT GUTENBERG EBOOK A WORD ONLY A WORD, BY EBERS, V3 ***
+
+
+
+This eBook was produced by David Widger <widger@cecomet.net>
+
+
+
+[NOTE: There is a short list of bookmarks, or pointers, at the end of the
+file for those who may wish to sample the author's ideas before making an
+entire meal of them.  D.W.]
+
+
+
+
+
+A WORD, ONLY A WORD
+
+By Georg Ebers
+
+Volume 3.
+
+
+
+CHAPTER XIV.
+
+For the first time in his life Ulrich had witnessed the death of a human
+being.
+
+How often he had laughed at the fool, or thought his words absurd and
+wicked;--but the dead man inspired him with respect, and the thought of
+the old jester's corpse exerted a far deeper and more lasting influence
+upon him, than his father's supposed death.  Hitherto he had only been
+able to imagine him as he had looked in life, but now the vision of him
+stretched at full length, stark and pale like the dead Pellicanus, often
+rose before his mind.
+
+The artist was a silent man, and understood how to think and speak in
+lines and colors, better than in words.  He only became eloquent and
+animated, when the conversation turned upon subjects connected with his
+art.
+
+At Toulouse he purchased three new horses, and engaged the same number of
+French servants, then went to a jeweller and bought many articles.  At
+the inn he put the chains and rings he had obtained, into pretty little
+boxes, and wrote on them in neat Gothic characters with special care:
+"Helena, Anna, Minerva, Europa and Lucia;" one name on each.
+
+Ulrich watched him and remarked that those were not his children's names.
+
+Moor looked up, and answered smiling:  "These are only young artists, six
+sisters, each one of whom is as dear to me as if she were my own
+daughter.  I hope we shall find them in Madrid, one of them, Sophonisba,
+at any rate."
+
+"But there are only five boxes," observed the boy, "and you haven't
+written Sophonisba on any of them."
+
+"She is to have something  better," replied  his patron smiling.  "My
+portrait, which I began to paint yesterday, will be finished here.  Hand
+me the mirror, the maul-stick, and the colors."
+
+The picture was a superb likeness, absolutely faultless.  The pure brow
+curved in lofty arches at the temples, the small eyes looked as clear and
+bright as they did in the mirror, the firm mouth shaded by a thin
+moustache, seemed as if it were just parting to utter a friendly word.
+The close-shaven beard on the cheeks and chin rested closely upon the
+white ruff, which seemed to have just come from under the laundresses'
+smoothing-iron.
+
+How rapidly and firmly the master guided his brush!  And Sophonisba, whom
+Moor distinguished by such a gift, how was he to imagine her?  The other
+five sisters too!  For their sakes he first anticipated with pleasure the
+arrival at Madrid.
+
+In Bayonne the artist left the baggage-wagon behind.  His luggage was put
+on mules, and when the party of travellers started, it formed an imposing
+caravan.
+
+Ulrich expressed his surprise at such expenditure, and Moor answered
+kindly: "Pellicanus says: 'Among fools one must be a fool.'  We enter
+Spain as the king's guests, and courtiers have weak eyes, and only notice
+people who give themselves airs."
+
+At Fuenterrabia, the first Spanish city they reached, the artist received
+many honors, and a splendid troop of cavalry escorted him thence to
+Madrid.
+
+Moor came as a guest to King Philip's capital for the third time, and was
+received there with all the tokens of respect usually paid only to great
+noblemen.
+
+His old quarters in the treasury of the Alcazar, the palace of the kings
+of Castile, were again assigned to him.  They consisted of a studio and
+suite of apartments, which by the monarch's special command, had been
+fitted up for him with royal magnificence.
+
+Ulrich could not control his amazement.  How poor and petty everything
+that a short time before, at Castle Rappolstein, had awakened his wonder
+and admiration now appeared.
+
+During the first few days the artist's reception-room resembled a bee-
+hive; for aristocratic men and women, civil and ecclesiastical
+dignitaries passed in and out, pages and lackeys brought flowers, baskets
+of fruits, and other gifts.  Every one attached to the court knew in what
+high favor the artist was held by His Majesty, and therefore hastened to
+win his good-will by attentions and presents.  Every hour there was
+something new and astonishing to be seen, but the artist himself most
+awakened the boy's surprise.
+
+The unassuming man, who on the journey had associated as familiarly with
+the poor invalids he had picked up by the wayside, the tavern-keepers,
+and soldiers of his escort, as if he were one of themselves, now seemed a
+very different person.  True, he still dressed in black, but instead of
+cloth and silk, he wore velvet and satin, while two gold chains glittered
+beneath his ruff.  He treated the greatest nobles as if he were doing
+them a favor by receiving them, and he himself were a person of
+unapproachable rank.
+
+On the first day Philip and his queen Isabella of Valois, had sent for
+him and adorned him with a costly new chain.
+
+On this occasion Ulrich saw the king.  Dressed as a page he followed
+Moor, carrying the picture the latter intended for a gift to his royal
+host.
+
+At the time of their entrance into the great reception-hall, the monarch
+was sitting motionless, gazing into vacancy, as if all the persons
+gathered around him had no existence for him.  His head was thrown far
+back, pressing down the stiff ruff, on which it seemed to rest as if it
+were a platter.  The fair-haired man's well-cut features wore the rigid,
+lifeless expression of a mask.  The mouth and nostrils were slightly
+contracted, as if they shrank from breathing the same air with other
+human beings.
+
+The monarch's face remained unmoved, while receiving the Pope's legates
+and the ambassadors from the republic of Venice.  When Moor was led
+before him, a faint smile was visible beneath the soft, drooping
+moustache and close-shaven beard on the cheeks and chin; the prince's
+dull eyes also gained some little animation.
+
+The day after the reception a bell rang in the studio, which was cleared
+of all present as quickly as possible, for it announced the approach of
+the king, who appeared entirely alone and spent two whole hours with
+Moor.
+
+All these marks of distinction might have turned a weaker brain, but
+Moor received them calmly, and as soon as he was alone with Ulrich or
+Sophonisba, appeared no less unassuming and kindly, than at Emmendingen
+and on the journey through France.
+
+A week after taking possession of the apartments in the treasury, the
+servants received orders to refuse admittance to every one, without
+distinction of rank or person, informing them that the artist was engaged
+in working for His Majesty.
+
+Sophonisba Anguisciola was the only person whom Moor never refused to
+see.  He had greeted the strange girl on his arrival, as a father meets
+his child.
+
+Ulrich had been present when the artist gave her his portrait, and saw
+her, overwhelmed with joy and gratitude, cover her face with her hands
+and burst into loud sobs.
+
+During Moor's first visit to Madrid, the young girl had come from Cremona
+to the king's court with her father and five sisters, and since then the
+task of supporting all six had rested on her shoulders.
+
+Old Cavaliere Anguisciola was a nobleman of aristocratic family, who had
+squandered his large patrimony, and now, as he was fond of saying, lived
+day by day "by trusting God."  A large portion of his oldest daughter's
+earnings he wasted at the gaming table with dissolute nobles, relying
+with happy confidence upon the talent displayed also by his younger
+children, and on what he called "trust in God."  The gay, clever Italian
+was everywhere a welcome guest, and while Sophonisba toiled early and
+late, often without knowing how she was to obtain suitable food and
+clothing for her sisters and herself, his life was a series of banquets
+and festivals.  Yet the noble girl retained the joyous courage inherited
+from her father, nay, more--even in necessity she did not cease to take a
+lofty view of art, and never permitted anything to leave her studio till
+she considered it finished.
+
+At first Moor watched her silently, then he invited her to work in his
+studio, and avail herself of his advice and assistance.
+
+So she had become his pupil, his friend.
+
+Soon the young girl had no secrets from him, and the glimpses of her
+domestic life thus afforded touched him and brought her nearer and nearer
+to his heart.
+
+The old Cavaliere praised the lucky accident, and was ready to show
+himself obliging, when Moor offered to let him and his daughters occupy
+a house he had purchased, that it might be kept in a habitable condition,
+and when the artist had induced the king to grant Sophonisba a larger
+annual salary, the father instantly bought a second horse.
+
+The young girl, in return for so many benefits, was gratefully devoted to
+the artist, but she would have loved him even without them.  His society
+was her greatest pleasure.  To be allowed to stay and paint with him,
+become absorbed in conversation about art, its problems, means and
+purposes, afforded her the highest, purest happiness.
+
+When she had discharged the duties imposed upon her by her attendance
+upon the queen, her heart drew her to the man she loved and honored.
+When she left him, it always seemed as if she had been in church, as if
+her soul had been steeped in purity and was effulgent.  Moor had hoped to
+find her sisters with her in Madrid, but the old Cavaliere had taken them
+away with him to Italy.  His "trust in God" was rewarded, for he had
+inherited a large fortune.  What should he do longer in Madrid!  To
+entertain the stiff, grave Spaniards and move them to laughter, was a far
+less pleasing occupation than to make merry with gay companions and be
+entertained himself at home.
+
+Sophonisba was provided for, and the beautiful, gay, famous maid of honor
+would have no lack of suitors.  Against his daughter's wish, he had given
+to the richest and most aristocratic among them, the Sicilian baron
+Don Fabrizio di Moncada, the hope of gaining her hand.  "Conquer the
+fortress!  When it yields--you can hold it," were his last words; but
+the citadel remained impregnable, though the besieger could bring into
+the field as allies a knightly, aristocratic bearing, an unsullied
+character, a handsome, manly figure, winning manners, and great wealth.
+
+Ulrich felt a little disappointed not to find the five young girls, of
+whom he had dreamed, in Madrid; it would have been pleasant to have some
+pretty companions in the work now to begin.
+
+Adjoining the studio was a smaller apartment, separated from the former
+room by a corridor, that could be closed, and by a heavy curtain.  Here a
+table, at which the five girls might easily have found room, was placed
+in a favorable light for Ulrich.  He was to draw from plastic models, and
+there was no lack of these in the Alcazar, for here rose a high, three-
+story wing, to which when wearied by the intrigues of statecraft and the
+restraints of court etiquette, King Philip gladly retired, yielding
+himself to the only genial impulse of his gloomy soul, and enjoyed the
+noble forms of art.
+
+In the round hall on the lower floor countless plans, sketches, drawings
+and works of art were kept in walnut chests of excellent workmanship.
+Above this beautifully ornamented apartment--was the library, and in the
+third story the large hall containing the masterpieces of Titian.
+
+The restless statesman, Philip, was no less eager to collect and obtain
+new and beautiful works by the great Venetian, than to defend and
+increase his own power and that of the Church.  But these treasures were
+kept jealously guarded, accessible to no human being except himself and
+his artists.
+
+Philip was all and all to himself; caring nothing for others, he did not
+deem it necessary, that they should share his pleasures.  If anything
+outside the Church occupied a place in his regard, it was the artist,
+and therefore he did not grudge him what he denied to others.
+
+Not only in the upper story, but in the lower ones also antique and
+modern busts and statues were arranged in appropriate places, and Moor
+was at liberty to choose from among them, for the king permitted him to
+do what was granted to no one else.
+
+He often summoned him to the Titian Hall, and still more frequently rang
+the bell and entered the connecting corridor, accessible to himself
+alone, which led from the rooms devoted to art and science to the
+treasury and studio, where he spent hours with Moor.  Ulrich eagerly
+devoted himself to the work, and his master watched his labor like an
+attentive, strict, and faithful teacher; meantime he carefully guarded
+against overtaxing the boy, allowed him to accompany him on many a ride,
+and advised him to look about the city.  At first the lad liked to stroll
+through the streets and watch the long, brilliant processions, or timidly
+shrink back when closely-muffled men, their figures wholly invisible
+except the eyes and feet, bore a corpse along, or glided on mysterious
+missions through the streets.  The bull-fights might have bewitched him,
+but be loved horses, and it grieved him to see the noble animal, wounded
+and killed.
+
+He soon wearied of the civil and religious ceremonies, that might be
+witnessed nearly every day, and which always exerted the same power of
+attraction to the inhabitants of Madrid.  Priests swarmed in the Alcazar,
+and soldiers belonging to every branch of military service, daily guarded
+or marched by the palace.
+
+On the journey he had met plenty of mules with gay plumes and tassels,
+oddly-dressed peasants and citizens.  Gentlemen in brilliant court
+uniforms, princes and princesses he saw daily in the court-yards, on the
+stairs, and in the park of the palace.
+
+At Toulouse and in other cities, through which he had passed, life
+had been far more busy, active, and gay than in quiet Madrid, where
+everything went on as if people were on their way to church, where a
+cheerful face was rarely seen, and men and women knew of no sight more
+beautiful and attractive, than seeing poor Jews and heretics burned.
+
+Ulrich did not need the city; the Alcazar was a world in itself, and
+offered him everything he desired.
+
+He liked to linger in the stables, for there he could distinguish
+himself; but it was also delightful to work, for Moor chose models and
+designs that pleased the lad, and Sophonisba Anguisciola, who often
+painted for hours in the studio by the master's side, came to Ulrich in
+the intervals, looked at what he had finished, helped, praised, or
+scolded him, and never left him without a jest on her lips.
+
+True, he was often left to himself; for the king sometimes summoned the
+artist and then quitted the palace with him for several days, to visit
+secluded country houses, and there--the old Hollander had told the lad--
+painted under Moor's instructions.
+
+On the whole, there were new, strange, and surprising things enough, to
+keep the sensation of "Fortune," alive in Ulrich's heart.  Only it was
+vexatious that he found it so hard to make himself intelligible to
+people, but this too was soon to be remedied, for the pupil obtained two
+companions.
+
+
+
+
+CHAPTER XV.
+
+Alonzo Sanchez Coello, a very distinguished Spanish artist, had his
+studio in the upper story of the treasury.  The king was very friendly to
+him, and often took him also on his excursions.  The gay, lively artist
+clung without envy, and with ardent reverence, to Moor, whose fellow-
+pupil he had been in Florence and Venice.  During the Netherlander's
+first visit to Madrid, he had not disdained to seek counsel and
+instruction from his senior, and even now frequently visited his studio,
+bringing with him his children Sanchez and Isabella as pupils, and
+watched the Master closely while he painted.
+
+At first Ulrich was not specially pleased with his new companions, for in
+the strangely visionary life he led, he had depended solely upon himself
+and "Fortune," and the figures living in his imagination were the most
+enjoyable society to him.
+
+Formerly he had drawn eagerly in the morning, joyously anticipated
+Sophonisba's visit, and then gazed out over his paper and dreamed.
+How delightful it had been to let his thoughts wander to his heart's
+content.  This could now be done no longer.
+
+So it happened, that at first he could feel no real confidence in
+Sanchez, who was three years his senior, for the latter's thin limbs
+and close-cut dark hair made him look exactly like dark-browed Xaver.
+Therefore his relations with Isabella were all the more friendly.
+
+She was scarcely fourteen, a dear little creature, with awkward limbs,
+and a face so wonderfully changeful in expression, that it could not fail
+to be by turns pretty and repellent.  She always had beautiful eyes; all
+her other features were unformed, and might grow charming or exactly the
+reverse.  When her work engrossed her attention, she bit her protruded
+tongue, and her raven-black hair, usually remarkably smooth, often became
+so oddly dishevelled, that she looked like a kobold; when, on the other
+hand, she talked pleasantly or jested, no one could help being pleased.
+
+The child was rarely gifted, and her method of working was an exact
+contrast to that of the German lad.  She progressed slowly, but finally
+accomplished something admirable; what Ulrich impetuously began had a
+showy, promising aspect, but in the execution the great idea shrivelled,
+and the work diminished in merit instead of increasing.
+
+Sanchez Coello remained far behind the other two, but to make amends,
+he knew many things of which Ulrich's uncorrupted soul had no suspicion.
+
+Little Isabella had been given by her mother, for a duenna, a watchful,
+ill-tempered widow, Senora Catalina, who never left the girl while she
+remained with Moor's pupils.
+
+Receiving instruction with others urged Ulrich to rivalry, and also
+improved his knowledge of Spanish.  But he soon became familiar with the
+language in another way, for one day, as he came out of the stables,
+a thin man in black, priestly robes, advanced towards him, looked
+searchingly into his face, then greeted him as a countryman, declaring
+that it made him happy to speak his dear native tongue again.  Finally,
+he invited the "artist" to visit him.  His name was Magister Kochel and
+he lodged with the king's almoner, for whom he was acting as clerk.
+
+The pallid man with the withered face, deep-set eyes and peculiar grin,
+which always showed the bluish-red gums above the teeth, did not please
+the boy, but the thought of being able to talk in his native language
+attracted him, and he went to the German's.
+
+He soon thought that by so doing he was accomplishing something good and
+useful, for the former offered to teach him to write and speak Spanish.
+Ulrich was glad to have escaped from school, and declined this proposal;
+but when the German suggested that he should content himself with
+speaking the language, assuring him that it could be accomplished without
+any difficulty, Ulrich consented and went daily at twilight to the
+Magister.
+
+Instruction began at once and was pleasant enough, for Kochel let him
+translate merry tales and love stories from French and Italian books,
+which he read aloud in German, never scolded him, and after the first
+half-hour always laid the volume aside to talk with him.
+
+Moor thought it commendable and right, for Ulrich to take upon himself
+the labor and constraint of studying a language, and promised, when the
+lessons were over, to give a fitting payment to the Magister, who seemed
+to have scanty means of livelihood.
+
+The master ought to have been well disposed towards worthy Kochel, for
+the latter was an enthusiastic admirer of his works.  He ranked the
+Netherlander above Titian and the other great Italian artists, called him
+the worthy friend of gods and kings, and encouraged his pupil to imitate
+him.
+
+"Industry, industry!" cried the Magister.  "Only by industry is the
+summit of wealth and fame gained.  To be sure, such success demands
+sacrifices.  How rarely is the good man permitted to enjoy the blessing
+of mass.  When did he go to church last?"
+
+Ulrich answered these and similar questions frankly and truthfully,
+and when Kochel praised the friendship uniting the artist to the king,
+calling them Orestes and Pylades, Ulrich, proud of the honor shown his
+master, told him how often Philip secretly visited the latter.
+
+At every succeeding interview Kochel asked, as if by chance, in the midst
+of a conversation about other things: "Has the king honored you again?"
+or "You happy people, it is reported that the king has shown you his face
+again."
+
+This "you" flattered Ulrich, for it allowed a ray of the royal favor to
+fall upon him also, so he soon informed his countryman, unasked, of every
+one of the monarch's visits to the treasury.
+
+Weeks and months elapsed.
+
+Towards the close of his first year's residence in Madrid, Ulrich spoke
+Spanish with tolerable fluency, and could easily understand his fellow-
+pupils; nay, be had even begun to study Italian.
+
+Sophonisba Anguisciola still spent all her leisure hours in the studio,
+painting or conversing with Moor.  Various dignitaries and grandees also
+went in and out of the studio, and among them frequently appeared, indeed
+usually when Sophonisba was present, her faithful admirer Don Fabrizio di
+Moncada.
+
+Once Ulrich, without listening, heard Moor through the open door of the
+school-room, represent to her, that it was unwise to reject a suitor like
+the baron; he was a noble, high-minded gentleman and his love beyond
+question.
+
+Her answer was long in coming; at last she rose, saying in an agitated
+voice: "We know each other, Master; I know your kind intentions.  And
+yet, yet!  Let me remain what I am, however insignificant that may be.
+I like the baron, but what better gifts can marriage bestow, than I
+already possess?  My love belongs to Art, and you--you are my friend....
+My sisters are my children.  Have I not gained the right to call them so?
+I shall have no lack of duties towards them, when my father has
+squandered his inheritance.  My noble queen will provide for my future,
+and I am necessary to her.  My heart is filled--filled to the brim; I do
+what I can, and is it not a beautiful thought, that I am permitted to be
+something to those I love?  Let me remain your Sophonisba, and a free
+artist."
+
+"Yes, yes, yes!  Remain what you are, girl!" Moor exclaimed, and then for
+a long time silence reigned in the studio.
+
+Even before they could understand each other's language, a friendly
+intercourse had existed between Isabella and her German fellow-pupil,
+for in leisure moments they had sketched each other more than once.
+
+These pictures caused much laughter and often occasional harmless
+scuffles between Ulrich and Sanchez, for the latter liked to lay hands
+on these portraits and turn them into hideous caricatures.
+
+Isabella often earned the artist's unqualified praise, Ulrich sometimes
+received encouraging, sometimes reproving, and sometimes even harsh
+words.  The latter Moor always addressed to him in German, but they
+deeply wounded the lad, haunting him for days.
+
+The "word" still remained obedient to him.  Only in matters relating to
+art, the power of "fortune" seemed to fail, and deny its service.
+
+When the painter set him difficult tasks, which he could not readily
+accomplish, he called upon the "word;" but the more warmly and fervently
+he did so, the more surely he receded instead of advancing.  When, on the
+contrary, he became angered against "fortune," reproached, rejected it,
+and relied wholly on himself, he accomplished the hardest things and won
+Moor's praise.
+
+He often thought, that he would gladly resign his untroubled, luxurious
+life, and all the other gifts of Fortune, if he could only succeed in
+accomplishing what Moor desired him to attain in art.  He knew and felt
+that this was the right goal; but one thing was certain, he could never
+attain it with pencil and charcoal.  What his soul dreamed, what his
+mental vision beheld was colored.  Drawing, perpetual drawing, became
+burdensome, repulsive, hateful; but with palette and brush in his hand he
+could not fail to become an artist, perhaps an artist like Titian.
+
+He already used colors in secret; Sanchez Coello had been the cause of
+his making the first trial.
+
+This precocious youth was suing for a fair girl's favor, and made Ulrich
+his confidant.  One day, when Moor and Sanchez's father had gone with the
+king to Toledo, he took him to a balcony in the upper story of the
+treasury, directly opposite to the gate-keeper's lodgings, and only
+separated by a narrow court-yard from the window, where sat pretty
+Carmen, the porter's handsome daughter.
+
+The girl was always to be found here, for her father's room was very
+dark, and she was compelled to embroider priestly robes from morning till
+night.  This pursuit brought in money, which was put to an excellent use
+by the old man, who offered sacrifices to his own comfort at the cook-
+shop, and enjoyed fish fried in oil with his Zamora wine.  The better her
+father's appetite was, the more industriously the daughter was obliged
+to embroider.  Only on great festivals, or when an 'Auto-da-fe' was
+proclaimed, was Carmen permitted to leave the palace with her old aunt;
+yet she had already found suitors.  Nineteen-year-old Sanchez did not
+indeed care for her hand, but merely for her love, and when it began to
+grow dusk, he stationed himself on the balcony which he had discovered,
+made signs to her, and flung flowers or bonbons on her table.
+
+"She is still coy," said the young Spaniard, telling Ulrich to wait at
+the narrow door, which opened upon the balcony.  "There sits the angel!
+Just look!  I gave her the pomegranate blossom in her magnificent hair--
+did you ever see more beautiful tresses?  Take notice!  She'll soon melt;
+I know women!"
+
+Directly after a bouquet of roses fell into the embroiderer's lap.
+Carmen uttered a low cry, and perceiving Sanchez, motioned him away with
+her head and hand, finally turning her back upon him.
+
+"She's in a bad humor to-day," said Sanchez; "but I beg you to notice
+that she'll keep my roses.  She'll wear one to-morrow in her hair or on
+her bosom; what will you wager?"
+
+"That may be," answered Ulrich.  "She probably has no money to buy any
+for herself."
+
+To be sure, the next day at twilight Carmen wore a rose in her hair.
+
+Sanchez exulted, and drew Ulrich out upon the balcony.  The beauty
+glanced at him, blushed, and returned the fair-haired boy's salutation
+with a slight bend of the head.
+
+The gate-keeper's little daughter was a pretty child, and Ulrich had no
+fear of doing what Sanchez ventured.
+
+On the third day he again accompanied him to the balcony, and this time,
+after silently calling upon the "word," pressed his hand upon his heart,
+just as Carmen looked at him.
+
+The young girl blushed again, waved her fan, and then bent her little
+head so low, that it almost touched the embroidery.
+
+The next evening she secretly kissed her fingers to Ulrich.
+
+From this time the young lover preferred to seek the balcony without
+Sanchez.  He would gladly have called a few tender words across, or sung
+to his lute, but that would not do, for people were constantly passing
+to and fro in the court-yard.
+
+Then the thought occurred to him, that he could speak to the fair one by
+means of a picture.
+
+A small panel was soon found, he had plenty of brushes and colors to
+choose from, and in a few minutes, a burning heart, transfixed by an
+arrow, was completed.  But the thing looked horribly red and ugly, so he
+rejected it, and painted--imitating one of Titian's angels, which
+specially pleased him--a tiny Cupid, holding a heart in his hand.
+
+He had learned many things from the master, and as the little figure
+rounded into shape, it afforded him so much pleasure, that he could not
+leave it, and finished it the third day.
+
+It had not entered his mind to create a completed work of art, but the
+impetuosity of youth, revelling in good fortune, had guided his brush.
+The little Cupid bent joyously forward, drawing the right leg back, as if
+making a bow.  Finally Ulrich draped about him a black and yellow scarf,
+such as he had often seen the young Austrian archduke wear, and besides
+the pierced heart, placed a rose in the tiny, ill-drawn hand.
+
+He could not help laughing at his "masterpiece" and hurried out on the
+balcony with the wet painting, to show it to Carmen.  She laughed
+heartily too, answered his salutations with tender greetings, then laid
+aside her embroidery and went back into the room, but only to immediately
+reappear at the window again, holding up a prayer-book and extending
+towards him the eight fingers of her industrious little hands.
+
+He motioned that he understood her, and at eight o'clock the next morning
+was kneeling by her side at mass, where he took advantage of a favorable
+opportunity to whisper: "Beautiful Carmen!"
+
+The young girl blushed, but he vainly awaited an answer.  Carmen now
+rose, and when Ulrich also stood up to permit her to pass, she dropped
+her prayer-book, as if by accident.  He stooped with her to pick it up,
+and when their heads nearly touched, she whispered hurriedly: "Nine
+o'clock this evening in the shell grotto; the garden will be open."
+
+Carmen awaited him at the appointed place.
+
+At first Ulrich's heart throbbed so loudly and passionately, that he
+could find no words; but the young girl helped him, by telling him that
+he was a handsome fellow, whom it would be easy to love.
+
+Then he remembered the vows of tenderness he had translated at Kochel's,
+falteringly repeated them, and fell on one knee before her, like all the
+heroes in adventures and romances.
+
+And behold!  Carmen did exactly the same as the young ladies whose
+acquaintance he had made at his teacher's, begged him to rise, and when
+he willingly obeyed the command--for he wore thin silk stockings and the
+grotto was paved with sharp stones--drew him to her heart, and tenderly
+stroked his hair back from his face with her dainty fingers, while he
+gladly permitted her to press her soft young lips to his.
+
+All this was delightful, and he had no occasion to speak at all; yet
+Ulrich felt timid and nervous.  It seemed like a deliverance when the
+footsteps of the guard were heard, and Carmen drew him away through the
+gate with her into the court-yard.
+
+Before the little door leading into her father's room she again pressed
+his hand, and then vanished as swiftly as a shadow.
+
+Ulrich remained alone, pacing slowly up and down before the treasury,
+for he knew that he had done something very wrong, and did not venture
+to appear before the artist.
+
+When he entered the dark garden, he had again summoned "fortune" to his
+aid; but now it would have pleased him better, if it had been less
+willing to come to his assistance.
+
+Candles were burning in the studio, and Moor sat in his arm-chair,
+holding--Ulrich would fain have bidden himself in the earth--the boy's
+Cupid in his hands.
+
+The young culprit wanted to slip past his teacher with a low "good
+night," but the latter called him, and pointing to the picture, smilingly
+asked: "Did you paint this?"
+
+Ulrich nodded, blushing furiously.
+
+The artist eyed him from top to toe, saying: "Well, well, it is really
+very pretty.  I suppose it is time now for us to begin to paint."
+
+The lad did not know what had happened, for a few weeks before Moor had
+harshly refused, when he asked the same thing now voluntarily offered.
+
+Scarcely able to control his surprise and joy, be bent over the artist's
+hand to kiss it, but the latter withdrew it, gazed steadily into his eyes
+with paternal affection, and said: "We will try, my boy, but we must not
+give up drawing, for that is the father of our art.  Drawing keeps us
+within the bounds assigned to what is true and beautiful.  The morning
+you must spend as before; after dinner you shall be rewarded by using
+colors."  This plan was followed, and the pupil's first love affair bore
+still another fruit--it gave a different form to his relations with
+Sanchez.  The feeling that he had stood in his way and abused his
+confidence sorely disturbed Ulrich, so he did everything in his power
+to please his companion.
+
+He did not see the fair Carmen again, and in a few weeks the appointment
+was forgotten, for painting under Moor's instruction absorbed him as
+nothing in his life had ever done before, and few things did after.
+
+
+
+
+CHAPTER XVI.
+
+Ulrich was now seventeen, and had been allowed to paint for four months.
+
+Sanchez Coello rarely appeared in the studio, for he had gone to study
+with the architect, Herrera; Isabella vied with Ulrich, but was speedily
+outstripped by the German.
+
+It seemed as if he had been born with the power to use the brush, and
+the young girl watched his progress with unfeigned pleasure.  When Moor
+harshly condemned his drawing, her kind eyes grew dim with tears; if the
+master looked at his studies with an approving smile, and showed them to
+Sophonisba with words of praise, she was as glad as if they had been
+bestowed upon herself.
+
+The Italian came daily to the treasury as usual, to paint, talk or play
+chess with Moor; she rejoiced at Ulrich's progress, and gave him many a
+useful suggestion.
+
+When the young artist once complained that he had no good models, she
+gaily offered to sit to him.  This was a new and unexpected piece of good
+fortune.  Day and night he thought only of Sophonisba.  The sittings
+began.
+
+The Italian wore a red dress, trimmed with gold embroidery, and a high
+white lace ruff, that almost touched her cheeks.  Her wavy brown hair
+clung closely to the beautiful oval head, its heavy braids covering the
+back of the neck; tiny curls fluttered around her ears and harmonized
+admirably with the lovely, mischievous expression of the mouth, that won
+all hearts.  To paint the intelligent brown eyes was no easy matter, and
+she requested Ulrich to be careful about her small, rather prominent
+chin, which was anything but beautiful, and not make her unusually high,
+broad forehead too conspicuous; she had only put on the pearl diadem to
+relieve it.
+
+The young artist set about this task with fiery impetuosity, and the
+first sketch surpassed all expectations.
+
+Don Fabrizio thought the picture "startlingly" like the original.  Moor
+was not dissatisfied, but feared that in the execution his pupil's work
+would lose the bold freshness, which lent it a certain charm in his eyes,
+and was therefore glad when the bell rang, and soon after the king
+appeared, to whom he intended to show Ulrich's work.
+
+Philip had not been in the studio for a long time, but the artist had
+reason to expect him; for yesterday the monarch must have received his
+letter, requesting that he would graciously grant him permission to leave
+Madrid.
+
+Moor had remained in Spain long enough, and his wife and child were
+urging his return.  Yet departure was hard for him on Sophonisba's
+account; but precisely because he felt that she was more to him than a
+beloved pupil and daughter, he had resolved to hasten his leave-taking.
+
+All present were quickly dismissed, the bolts were drawn and Philip
+appeared.
+
+He looked paler than usual, worn and weary.
+
+Moor greeted him respectfully, saying: "It is long since Your Majesty has
+visited the treasury."
+
+"Not 'Your Majesty;' to you I am Philip," replied the king.  "And you
+wish to leave me, Antonio!  Recall your letter!  You must not go now."
+
+The sovereign, without waiting for a reply, now burst into complaints
+about the tiresome, oppressive duties of his office, the incapacity of
+the magistrates, the selfishness, malice and baseness of men.  He
+lamented that Moor was a Netherlander, and not a Spaniard, called him
+the only friend he possessed among the rebellious crew in Holland and
+Flanders, and stopped him when he tried to intercede for his countrymen,
+though repeatedly assuring him that he found in his society his best
+pleasure, his only real recreation; Moor must stay, out of friendship,
+compassion for him, a slave in the royal purple.
+
+After the artist had promised not to speak of departure during the next
+few days, Philip began to paint a saint, which Moor had sketched, but at
+the end of half an hour he threw down his brush.  He called himself
+negligent of duty, because he was following his inclination, instead of
+using his brain and hands in the service of the State and Church.  Duty
+was his tyrant, his oppressor.  When the day-laborer threw his hoe over
+his shoulder, the poor rascal was rid of toil and anxiety; but they
+pursued him everywhere, night and day.  His son was a monster, his
+subjects were rebels or cringing hounds.  Bands of heretics, like moles
+or senseless brutes, undermined and assailed the foundation of the throne
+and safeguard of society: the Church.  To crush and vanquish was his
+profession, hatred his reward on earth.  Then, after a moment's silence,
+he pointed towards heaven, exclaiming as if in ecstasy: "There, there!
+with Him, with Her, with the Saints, for whom I fight!"
+
+The king had rarely come to the treasury in such a mood.  He seemed to
+feel this too, and after recovering his self-control, said:
+
+"It pursues me even here, I cannot succeed in getting the right coloring
+to-day.  Have you finished anything new?"
+
+Moor now pointed out to the king a picture by his own hand, and after
+Philip had gazed at it long and appreciatively, criticising it with
+excellent judgment, the artist led him to Ulrich's portrait of
+Sophonisba, and asked, not without anxiety: "What does Your Majesty say
+to this attempt?"
+
+"Hm!" observed the monarch.  "A little of Moor, something borrowed from
+Titian, yet a great deal that is original.  The bluish-grey leaden tone
+comes from your shop.  The thing is a wretched likeness!  Sophonisba
+resembles a gardener's boy.  Who made it?"
+
+"My pupil, Ulrich Navarrete."
+
+"How long has he been painting?"
+
+"For several months, Sire."
+
+"And you think he will be an artist of note?"
+
+"Perhaps so.  In many respects he surpasses my expectations, in others he
+falls below them.  He is a strange fellow."
+
+"He is ambitious, at any rate."
+
+"No small matter for the future artist.  What he eagerly begins has a
+very grand and promising aspect; but it shrinks in the execution.  His
+mind seizes and appropriates what he desires to represent, at a single
+hasty grasp...."
+
+"Rather too vehement, I should think."
+
+"No fault at his age.  What he possesses makes me less anxious, than what
+he lacks.  I cannot yet discover the thoughtful artist-spirit in him."
+
+"You mean the spirit, that refines what it has once taken, and in quiet
+meditation arranges lines, and assigns each color to its proper place, in
+short your own art-spirit."
+
+"And yours also, Sire.  If you had begun to paint early, you would have
+possessed what Ulrich lacks."
+
+"Perhaps so.  Besides, his defect is one of those which will vanish with
+years.  In your school, with zeal and industry...."
+
+"He will obtain, you think, what he lacks.  I thought so too!  But as I
+was saying: he is queerly constituted.  What you have admitted to me more
+than once, the point we have started from in a hundred conversations--he
+cannot grasp: form is not the essence of art to him."
+
+The king shrugged his shoulders and pointed to his forehead; but Moor
+continued: "Everything he creates must reflect anew, what he experienced
+at the first sight of the subject.  Often the first sketch succeeds, but
+if it fails, he seeks without regard to truth and accuracy, by means of
+trivial, strange expedients, to accomplish his purpose.  Sentiment,
+always sentiment!  Line and tone are everything; that is our motto.
+Whoever masters them, can express the grandest things."
+
+"Right, right!  Keep  him  drawing  constantly.  Give him mouths, eyes,
+and hands to paint."
+
+"That must be done in Antwerp."
+
+"I'll hear nothing about Antwerp!  You will stay, Antonio, you will stay.
+Your wife and child-all honor to them.  I have seen your wife's portrait.
+Good, nourishing bread!  Here you have ambrosia and manna.  You know whom
+I mean; Sophonisba is attached to you; the queen says so."
+
+"And I gratefully feel it.  It is hard to leave your gracious Majesty and
+Sophonisba; but bread, Sire, bread--is necessary to life.  I shall leave
+friends here, dear friends--it will be difficult, very difficult, to find
+new ones at my age."
+
+"It is the same with me, and for that very reason you will stay, if you
+are my friend!  No more!  Farewell, Antonio, till we meet again, perhaps
+to-morrow, in spite of a chaos of business.  Happy fellow that you are!
+In the twinkling of an eye you will be revelling in colors again, while
+the yoke, the iron yoke, weighs me down."
+
+Moor thought he should be able to work undisturbed after the king had
+left him, and left the door unbolted.  He was standing before the easel
+after dinner, engaged in painting, when the door of the corridor leading
+to the treasury was suddenly flung open, without the usual warning, and
+Philip again entered the studio.  This time his cheeks wore a less pallid
+hue than in the morning, and his gait showed no traces of the solemn
+gravity, which had become a second nature to him,--on the contrary he was
+gay and animated.
+
+But the expression did not suit him; it seemed as if he had donned a
+borrowed, foreign garb, in which he was ill at ease and could not move
+freely.
+
+Waving a letter in his right hand, he pointed to it with his left,
+exclaiming:
+
+"They are coming.  This time two marvels at once.  Our Saviour praying in
+the garden of Gethsemane, and Diana at the Bath.  Look, look!  Even this
+is a treasure.  These lines are from Titian's own hand."
+
+"A peerless old man," Moor began; but Philip impetuously interrupted:
+"Old man, old man?  A youth, a man, a vigorous man.  How soon he will be
+ninety, and yet--yet; who will equal him?"
+
+As he uttered the last words, the monarch stopped before Sophonisba's
+portrait, and pointing to it with the scornful chuckle peculiar to him,
+continued gaily:
+
+"There the answer meets me directly.  That red!  The Venetian's laurels
+seem to have turned your high flown pupil's head.  A hideous picture!"
+
+"It doesn't seem so bad to me," replied Moor.  "There is even something
+about it I like."
+
+"You, you?"  cried Philip.  "Poor Sophonisba!"
+
+"Those carbuncle eyes!  And a mouth, that looks as if she could eat
+nothing but sugar-plums.  I don't know what tickles me to-day.  Give me
+the palette.  The outlines are tolerably good, the colors fairly shriek.
+But what boy can understand a woman, a woman like your friend!  I'll
+paint over the monster, and if the picture isn't Sophonisba, it may serve
+for a naval battle."
+
+The king had snatched the palette from the artist's hand, clipped his
+brush in the paint, and smiling pleasantly, was about to set to work; but
+Moor placed himself between the sovereign and the canvas; exclaiming
+gaily: "Paint me, Philip; but spare the portrait."
+
+"No, no; it will do for the naval battle," chuckled the king, and while
+he pushed the artist back, the latter, carried away by the monarch's
+unusual freedom, struck him lightly on the shoulder with the maul-stick.
+
+The sovereign started, his lips grew white, he drew his small but stately
+figure to its full height.  His unconstrained bearing was instantly
+transformed into one of unapproachable, icy dignity.
+
+Moor felt what was passing in the ruler's mind.
+
+A slight shiver ran through his frame, but his calmness remained
+unshaken, and before the insulted monarch found time to give vent to his
+indignation in words, he said quickly, as if the offence he had committed
+was not worth mentioning:
+
+"Queer things are done among comrades in art.  The painter's war is over!
+Begin the naval battle, Sire, or still better, lend more charm and
+delicacy to the corners of the mouth.  The pupil's worst failure is in
+the chin; more practised hands might be wrecked on that cliff.  Those
+eyes!  Perhaps they sparkled just in that way, but we are agreed in one
+thing: the portrait ought not to represent the original at a given
+moment, ruled by a certain feeling or engaged in a special act, but
+should express the sum of the spiritual, intellectual and personal
+attributes of the subject--his soul and person, mind and character-
+feelings and nature.  King Philip, pondering over complicated political
+combinations, would be a fascinating historical painting, but no
+likeness...."
+
+"Certainly not," said the king in a low voice; "the portrait must reveal
+the inmost spirit; mine must show how warmly Philip loves art and his
+artists.  Take the palette, I beg.  It is for you, the great Master, not
+for me, the overworked, bungling amateur, to correct the work of talented
+pupils."
+
+There was a hypocritical sweetness in the tone of these words which had
+not escaped the artist.
+
+Philip had long been a master in the school of dissimulation, but Moor
+knew him thoroughly, and understood the art of reading his heart.
+
+This mode of expression from the king alarmed him more than a passionate
+outburst of rage.  He only spoke in this way when concealing what was
+seething within.  Besides, there was another token.  The Netherlander
+had intentionally commenced a conversation on art, and it was almost
+unprecedented to find Philip disinclined to enter into one.  The blow
+had been scarcely perceptible, but Majesty will not endure a touch.
+
+Philip did not wish to quarrel with the artist now, but he would remember
+the incident, and woe betide him, if in some gloomy hour the sovereign
+should recall the insult offered him here.  Even the lightest blow from
+the paw of this slinking tiger could inflict deep wounds--even death.
+
+These thoughts had darted with the speed of lightning through the
+artist's mind, and still lingered there as, respectfully declining to
+take the palette, he replied "I beseech you, Sire, keep the brush and
+colors, and correct what you dislike."
+
+"That would mean to repaint the whole picture, and my time is limited,"
+answered Philip.  "You are responsible for your pupils' faults, as well
+as for your own offences.  Every one is granted, allowed, offered, what
+is his due; is it not so, dear master?  Another time, then, you shall
+hear from me!"  In the doorway the monarch kissed his hand to the artist,
+then disappeared.
+
+
+
+
+CHAPTER XVII.
+
+Moor remained alone in the studio.  How could he have played such a
+boyish prank!
+
+He was gazing anxiously at the floor, for he had good reason to be
+troubled, though the reflection that he had been alone with the king, and
+the unprecedented act had occurred without witnesses, somewhat soothed
+him.  He could not know that a third person, Ulrich, had beheld the
+reckless, fateful contest.
+
+The boy had been drawing in the adjoining room, when loud voices were
+heard in the studio.  He cherished a boundless reverence, bordering upon
+idolatry, for his first model, the beautiful Sophonisba, and supposing
+that it was she, discussing works of art with Moor, as often happened,
+he opened the door, pushed back the curtain, and saw the artist tap the
+chuckling king on the arm.
+
+The scene was a merry one, yet a thrill of fear ran through his limbs,
+and he went back to his plaster model more rapidly than he had come.
+
+At nightfall Moor sought Sophonisba.  He had been invited to a ball given
+by the queen, and knew that he should find the maid of honor among
+Isabella's attendants.
+
+The magnificent apartments were made as light as day by thousands of wax-
+candles in silver and bronze candelabra; costly Gobelin tapestry and
+purple Flanders hangings covered the walls, and the bright hues of the
+paintings were reflected from the polished floors, flooded with brilliant
+light.
+
+No dancing had ever been permitted at the court before Philip's marriage
+with the French princess, who had been accustomed to greater freedom of
+manners; now a ball was sometimes given in the Alcazar.  The first person
+who had ventured to dance the gaillarde before the eyes of the monarch
+and his horrified courtiers, was Sophonisba--her partner was Duke
+Gonzaga.  Strangely enough, the gayest lady at the court was the very
+person, who gave the gossips the least occasion for scandal.
+
+A gavotte was just over, as Moor entered the superb rooms.  In the first
+rank of the brilliant circle of distinguished ecclesiastics, ambassadors
+and grandees, who surrounded the queen, stood the Austrian archdukes, and
+the handsome, youthful figures of Alexander of Parma and of Don Juan, the
+half-brother of King Philip.
+
+Don Carlos, the deformed heir to the throne, was annoying with his coarse
+jests some ladies of the court, who were holding their fans before their
+faces, yet did not venture to make the sovereign's son feel their
+displeasure.
+
+Velvet, silk and jewels glittered, delicate laces rose and drooped
+around the necks and hands of the ladies and gentlemen.  Floating curls,
+sparkling eyes, noble and attractive features enslaved the eye, but the
+necks, throats and arms of the court dames were closely concealed under
+high ruffs and lace frills, stiff bodices and puffed sleeves.
+
+A subtile perfume filled the illuminated air of these festal halls;
+amidst the flirting of light fans, laughter, gay conversation, and
+slander reigned supreme.  In an adjoining room golden zechins fell
+rattling and ringing on the gaming-table.
+
+The morose, bigoted court, hampered by rigid formality, had been invaded
+by worldly pleasure, which disported itself unabashed by the presence of
+the distinguished prelates in violet and scarlet robes, who paced with
+dignified bearing through the apartments, greeting the more prominent
+ladies and grandees.
+
+A flourish of trumpets was borne on the air, and Philip appeared.  The
+cavaliers, bowing very low, suddenly stepped back from the fair dames,
+and the ladies curtsied to the floor.  Perfect silence followed.
+
+It seemed as if an icy wind had passed over the flower-beds and bent all
+the blossoms at once.
+
+After a few minutes the gentlemen stood erect, and the ladies rose again,
+but even the oldest duchesses were not allowed the privilege of sitting
+in their sovereign's presence.
+
+Gayety was stifled, conversation was carried on in whispers.
+
+The young people vainly waited for the signal to dance.
+
+It was long since Philip had been so proudly contemptuous, so morose as
+he was to-night.  Experienced courtiers noticed that His Majesty held his
+head higher than usual, and kept out of his way.  He walked as if engaged
+in scrutinizing the frescos on the ceiling, but nothing that he wished to
+see escaped his notice, and when he perceived Moor, he nodded graciously
+and smiled pleasantly upon him for a moment, but did not, as usual,
+beckon him to approach.
+
+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."
+
+
+
+
+CHAPTER XVIII.
+
+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...."
+
+"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.
+
+
+
+
+CHAPTER XIX.
+
+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.
+
+
+
+
+CHAPTER XX.
+
+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.
+
+
+
+
+ETEXT EDITOR'S BOOKMARKS:
+
+Among fools one must be a fool
+
+
+
+
+
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