按键盘上方向键 ← 或 → 可快速上下翻页，按键盘上的 Enter 键可回到本书目录页，按键盘上方向键 ↑ 可回到本页顶部！
————未阅读完？加入书签已便下次继续阅读！
dishes； stood near the blazing fire； and （luck unhoped for） he was in the pany of two great artists full of genial good humor。
〃do not look too long at that canvas； young man；〃 said porbus； when he saw that poussin was standing； struck with wonder； before a painting。 〃you would fall a victim to despair。〃
it was the 〃adam〃 painted by mabuse to purchase his release from the prison； where his creditors had so long kept him。 and； as a matter of fact； the figure stood out so boldly and convincingly； that nicolas poussin began to understand the real meaning of the words poured out by the old artist； who was himself looking at the picture with apparent satisfaction； but without enthusiasm。 〃i have done better than that！〃 he seemed to be saying to himself。
〃there is life in it；〃 he said aloud； 〃in that respect my poor master here surpassed himself； but there is some lack of truth in the background。 the man lives indeed； he is rising； and will e toward us； but the atmosphere； the sky； the air； the breath of the breeze……you look and feel for them； but they are not there。 and then the man himself is； after all； only a man！ ah！ but the one man in the world who came direct from the hands of god must have had a something divine about him that is wanting here。 mabuse himself would grind his teeth and say so when he was not drunk。〃
poussin looked from the speaker to porbus； and from porbus to the speaker； with restless curiosity。 he went up to the latter to ask for the name of their host； but the painter laid a finger on his lips with an air of mystery。 the young mans interest was excited； he kept silence； but hoped that sooner or later some word might be let fall that would reveal the name of his entertainer。 it was evident that he was a man of talent and very wealthy； for porbus listened to him respectfully； and the vast room was crowded with marvels of art。
a magnificent portrait of a woman； hung against the dark oak panels of the wall； next caught poussins attention。
〃what a glorious giorgione！〃 he cried。
〃no；〃 said his host； 〃it is an early daub of mine……〃
〃gramercy！ i am in the abode of the god of painting； it seems！〃 cried poussin ingenuously。
the old man smiled as if he had long grown familiar with such praise。
〃master frenhofer！〃 said porbus； 〃do you think you could spare me a little of your capital rhine wine？〃
〃a couple of pipes！〃 answered his host； 〃one to discharge a debt； for the pleasure of seeing your pretty sinner； the other as a present from a friend。〃
〃ah！ if i had my health；〃 returned porbus； 〃and if you would but let me see your belle noiseuse； i would paint some great picture； with breadth in it and depth； the figures should be life…size。〃
〃let you see my work！〃 cried the painter in agitation。 〃no； no！ it is not perfect yet； something still remains for me to do。 yesterday； in the dusk；〃 he said； 〃i thought i had reached the end。 her eyes seemed moist； the flesh quivered； something stirred the tresses of her hair。 she breathed！ but though i have succeeded in reproducing natures roundness and relief on the flat surface of the canvas； this morning； by daylight； i found out my mistake。 ah！ to achieve that glorious result i have studied the works of the great masters of color； stripping off coat after coat of color from titians canvas； analyzing the pigments of the king of light。 like that sovereign painter； i began the face in a slight tone with a supple and fat paste……for shadow is but an accident； bear that in mind； youngster！……then i began afresh； and by half…tones and thin glazes of color less and less transparent； i gradually deepened the tints to the deepest black of the strongest shadows。 an ordinary painter makes his shadows something entirely different in nature from the high lights； they are wood or brass； or what you will； anything but flesh in shadow。 you feel that even if those figures were to alter their position； those shadow stains would never be cleansed away； those parts of the picture would never glow with light。
〃i have escaped one mistake； into which the most famous painters have sometimes fallen； in my canvas the whiteness shines through the densest and most persistent shadow。 i have not marked out the limits of my figure in hard； dry outlines； and brought every least anatomical detail into prominence （like a host of dunces； who fancy that they can draw because they can trace a line elaborately smooth and clean）； for the human body is not contained within the limits of line。 in this the sculptor can approach the truth more nearly than we painters。 natures way is a plicated succession of curve within curve。 strictly speaking； there is no such thing as drawing。……do not laugh； young man； strange as that speech may seem to you； you will understand the truth in it some day。……a line is a method of expressing the effect of light upon an object； but there are no lines in nature； everything is solid。 we draw by modeling； that is to say； that we disengage an object from its setting； the distribution of the light alone gives to a body the appearance by which we know it。 so i have not defined the outlines； i have suffused them with a haze of half…tints warm or golden； in such a sort that you can not lay your finger on the exact spot where background and contours meet。 seen from near； the picture looks a blur； it seems to lack definition； but step back two paces； and the whole thing bees clear； distinct； and solid； the body stands out； the rounded form es into relief； you feel that the air plays round it。 and yet……i am not satisfied； i have misgivings。 perhaps one ought not to draw a single line； perhaps it would be better to attack the face from the centre； taking the highest prominences first； proceeding from them through the whole range of shadows to the heaviest of all。 is not this the method of the sun； the divine painter of the world？ oh； nature； nature！ who has surprised thee； fugitive？ but； after all； too much knowledge； like ignorance； brings you to a negation。 i have doubts about my work。〃
there was a pause。 then the old man spoke again。 〃i have been at work upon it for ten years； young man； but what are ten short years in a struggle with nature？ do we know how