In Paradise. Paul Heyse
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with all manner of arrangements for admitting the steadiest possible light from above. In summer one never sees above them the little cloud of smoke that betrays a domestic hearth, and no profane smell of cooking meets the visitor upon the threshold--as in most other Munich houses. From the open windows floats only a light, invisible odor of tobacco-smoke, agreeably mingled with the invigorating fragrance of varnishes, oils, and turpentine--which shows that here only the holy fire of art is fed, and that here, upon silent altars (three-legged easels and sculptors' pedestals) are offered sacrifices that cannot even shelter the priests that offer them from the pangs of hunger.
The house of which we speak turned its windowless southern side toward a little yard, in which lay scattered marble and sandstone blocks of different sizes. The four studio-windows of the northern side looked into a carefully-tended, narrow garden, that sheltered them from all disagreeable reflected lights. Around a little, slender, drowsily-splashing fountain in the middle bloomed a glorious wealth of roses; and the neighboring flower-beds, filled with all kinds of garden-stuff, were enclosed in thick borders of mignonette. Here the smell of oil and turpentine just referred to could not penetrate, especially as only the two upper studios were those of painters; while in the lower story, as could be seen by the blocks of stone in the yard, a sculptor carried on his art.
Artists--enjoying, as they do, a perpetual holiday mood over their work--are not wont to be supporters of a regular celebration of the Sabbath. Those who are so must be such as in the course of years have come to devote themselves--as not a few do in a so-called "art-city"--to the mere business-like manufacture of pictures for "art-clubs," or of parlor statuettes; and so are privileged to take their rest on the seventh day, among the other customs of solid citizens. They, "thank God, no longer feel obliged" to be industrious, and to work even on a holiday.
But the dwellers in this little house were not of such a type.
On the ground-floor all possible panes in the windows had been opened, to let as much as possible of the glowing air stream into the sunless room; and perhaps, too, to tempt in the fragrance of the flowers, or the notes of the flute that sounded from the window overhead. A flock of sparrows, that seemed accustomed to make themselves at home in the place, availed themselves of the opportunity to whirr in and out of the garden, to flutter, chattering and scolding, about among the ivy-vines with which one wall of the studio was thickly covered, and to hunt through every corner for neglected crusts of bread. With all this, however, they seemed well-bred enough to make no other trouble but their noise--though the busts and clay models, that stood about the room on boards and scaffoldings, showed many traces of their visits. On the damp cloth, in which a large group that stood in the middle of the great room was carefully wrapped, in order to keep the fresh clay from drying, sat an old and rather decrepit-looking sparrow, who still looked about him with an air of considerable dignity--evidently the chief of this wild army, to whom the pleasant coolness of his seat seemed to make it an agreeable one. He took no part in the fluttering and chatter of the younger company, but fixed his attention with critical gravity upon the artist in the gray blouse, who had moved his modeling-table close to the window, and was busy in finishing from a living model the statue of a dancing Bacchante.
The model was a young girl, hardly eighteen years old, who stood on a little platform opposite the sculptor, and, with her arms thrown up and backward, held fast by a rod that hung from the ceiling--for the statue held a tambourine in the hands flung upward with such abandon, and the pose was none of the most comfortable. Still, the girl had borne it a good half hour already without complaining or asking for a rest. Although she had to hold her head far back, with its loosened auburn hair that fell below her waist, yet she followed with intense curiosity--her little eyes almost closed the while, so that the long golden-blond lashes lay upon her cheeks--every movement of the artist, every one of his critical and comparing glances. It seemed to flatter her beyond measure that her youthful beauty should be the subject of such conscientious study; and in this satisfaction to her vanity she forgot fatigue. And indeed she was of unusually slender and graceful form; and from the rough brown calico dress that was tightly fastened about her waist there sprung, like a fair flower from a coarse husk, a girlish figure of as perfect whiteness and delicacy as though the poor child had no other occupation but to care for her complexion. Her face was not exactly beautiful; a rather flat nose with broad nostrils projected above the large, half-opened mouth. But in the ill-formed jaws, that gave to the face something wild and almost like an animal, shone perfect and beautiful teeth; and a merry, innocent, childlike smile enlivened the full lips and the otherwise rather expressionless eyes. The complexion of her face, too, was of a brilliant, transparent white, spotted here and there by a few little freckles, of which there were two or three also on her neck and breast. It was comical to see how she herself shared in the study of her own beauty, as she found such serious attention given to it by another; and, as she saw her girlish self treated with such respect, she seemed to forget every trace of anything like coquetry, such as might otherwise have entered into the matter.
"You must be tired, Zenz," said the sculptor. "Don't you want to rest awhile?"
She shook her auburn hair with a laugh. "It is so cool here," she answered without stirring. "You don't feel your own weight at all in the open air like this--and besides, there's the sweet smell of the mignonette in the garden. I believe I could stand this way till night."
"So much the better. I was just going to ask you if you were not cold, and didn't want a shawl over your shoulders. I don't need them now; I am just doing the arms."
He went seriously and quietly on with his work. In his plain face, framed in smooth blond hair streaked with gray, the only features that struck one at first glance were the eyes, that shone with an unusual force and fire. When he fixed them upon a certain point, it seemed as though they took complete possession of what they saw, and made themselves completely master of it. And yet there could be nothing more quiet or less inquiring in expression than these same eyes.
"Who is that playing the flute up stairs?" asked the girl. "The first time I was here, a week ago to-day, it was perfectly still up there; but to-day it goes tramp, tramp, every few minutes, and somebody plays, and then it stops again for a little while."
"A friend of mine has his studio just over us," answered the sculptor; "a battle-painter, Herr Rosenbusch. If he can't make his work go to please him, he takes up his flute and walks up and down like that, and plays, and buries himself in thought. And then he stops in front of his easel and looks at his picture; and so goes on until he hits upon what he is after. But what are you laughing at, Zenz?"
"Only at his name. Rosenbusch!1 And paints battles!--Is he a Jew?"
"I don't think so. But now if you want to rest a little while--your neck must be perfectly stiff by this time."
She let go the rod at once, and sprang down from the bench. While he was polishing with his modeling-tool the portion he had just finished, she stood close by him, her arms crossed behind her with a lightness peculiar to her figure, and looked closely at the beautiful statue, which within the last hour had made such obvious progress. But only in the upper half; for the active hips and limbs of the dancer, only hidden by her long, flowing hair, were only very roughly outlined.
"Are you satisfied, child?" asked the artist. "But then I can only, at the best, work it out in marble for you, and you are really a better bit for a painter. That snow-white skin and flaming mane of yours--if you had lived two thousand years ago, when they made statues of gold and ivory, you would have been just in your proper place."
"Gold and ivory?" she repeated, thoughtfully. "Those must have been rich people! However, I am satisfied for my part with the beautiful white marble--like the young gentleman there behind, that you didn't finish."
"Do you like him? It was a long while ago that I began that bust. Isn't it fine, how the small, firm, round head springs from the broad shoulders? It's a pity that I only sketched out the face; you would have liked that too."
"Are you going to make my portrait too, there in the clay? I mean, so that it will be just like me--so that my friends will say at once 'That is Red Zenz?'"
"That depends. I could use your little nose and your small, sharp-cut ears well enough. But you know, child, I had quite another wish; and, if you will