In Paradise. Paul Heyse
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friend," Angelica began at last, "that I have once more undertaken something that deserves the palm for no other reason than for its audacity. If you only knew what contemptuous epithets I have heaped upon myself while I was painting! I have made myself out so bad, have so run myself down, that Homo would not take a piece of bread from me if he had heard me. And yet, in the midst of my dejection, I still took such unheard-of pleasure in my daubery that, do what I would, I could not let my courage sink. If my friend were not present, I should be able to explain to you the reason for this. As it is, it would seem in very bad taste if I should forthwith make her a declaration of love in the presence of witnesses."
The sculptor still remained silent. At last he said, dryly,
"You may set your mind at rest, Angelica. Don't you know very well that this is not only your best picture, but, moreover, a most excellent performance, such as one only too seldom meets with nowadays?"
A deep blush of joyful embarrassment suffused the good-natured, round face of the painter.
"Is that your candid opinion?" cried she. "Oh, my dear Jansen! if it only is not meant as a salve for the goadings of my own conscience--"
Jansen did not answer. He was once more deeply absorbed in the contemplation of the picture. Now and then he cast a critical glance at the original, who stood quietly by and appeared to be thinking of other things.
In the mean while Edward labored zealously to efface the bad opinion that Angelica had formed of his love for critical mockery. He praised the work highly in detail--the drawing, the arrangement, the successful coloring, and the simple light effects, and what he found to criticise in the details of the technique only served to heighten the worth of his commendation as a whole.
"But, do you know," he said, enthusiastically, "this is only one way to do it, a very skillful and talented way, but by no means the only one. What do you say, for instance, to dark-red velvet, a light golden chain around the neck, a dark carnation in the hair--à la Paris Bordone? or a gold brocade--I happen to have a magnificent genuine costume at home, that was sent to me last week from Venice? or shall we have simply the hair disheveled, a dark dress, behind it a laurel-bush--"
"And so on, with graces in infinitum!" laughed the painter. "You must know, Julie, this gentleman has already painted thousands of the most magnificent pictures--unfortunately nearly all in imagination. No, my dear Rossel, we are obliged to you. We are only too glad to have accomplished it in this very modest way, and to have received so favorable a criticism. My dear friend, although she is an angel of patience, has had quite enough to do with the fine arts for some time to come."
"O, Angelica!" sighed Rossel with comical pathos, "you are merely jealous: you will vouchsafe to no other person the good fortune that has been accorded to you. Now, what if I had always been waiting for just such a task, so that I, too, might produce something immortal?"
"You?--your laziness is all that is immortal about you!" replied the painter.
They continued for a while to chaff and plague one another, Rosenbusch and Felix also contributing their share. Jansen alone did not jest, and Julie, too, took advantage of her slight acquaintance to take no further part in the conversation than common politeness demanded.
After the men had gone, a long silence followed between the two friends. The artist had taken up her palette again, in order that she might, after all, make use of Rossel's hints. Suddenly she said:
"Well, how did he please you?"
"Who?"
"Why, of course, there can be only one in question: the one who exerted himself least to please anybody, not even you."
"Jansen? Why, I scarcely know him!"
"One knows such men in the first quarter of an hour, when one is as old as we two are. It is just that which distinguishes the great men and the thorough artists from the petty and the half-way ones--one knows the lion by his claws. Just one look, and you will believe him capable of the most incredible and superhuman things."
"I really believe, my dear, you are in--"
"Love with him! No. I am, at all events, sensible enough not to let anything so nonsensical as that enter my head. But, if he were to say to me: 'I should take it as a favor, Angelica, if you would just eat this bladder-full of flake-white for your breakfast,' or, 'if you would try to paint with your foot, it would afford me a personal pleasure,' I believe I should not hesitate a moment. I should think he must undoubtedly have his reasons for it, and that I was only too stupid to comprehend them. Don't you see, such is my immovable faith in this unprecedented man, so impossible does it seem to me that he could do anything small, foolish, or even commonplace. Something horrible--yes, something monstrous and insane--I could believe him capable of, and who knows whether he has not really done something of the sort? He has something about him like a little Vesuvius, that stands there in the sun peacefully enough, and yet everybody knows what is boiling inside. His friends say of Jansen that, if the Berserker once breaks out in him, he is a bad man to deal with. I felt this from the first, with an unerring instinct, and I hardly dared to sneeze in his presence. Then I chanced to meet him in the garden, near the fountain, where he was combing his Homo, and showing himself pretty awkward at it. He struck me then as being so helpless that I could not help laughing and offering myself as a lady's maid for the dog, at which he showed great delight. That broke the ice between us, and, since then, I take the most inconceivable liberties with him, although my heart still continues to thump if he chances to look at me in his quiet, steady way, for a minute at a time."
Julie was silent. After some time she said, suddenly:
"It is true he has eyes such as I have never before seen in a man. One can read in those eyes that he is not happy; all his genius cannot make him glad. Don't you find it so, too? Wonderfully lonely eyes! Like a man who has lived long, years in a desert, and has seen no living soul--nothing but earth and sun. Do you know anything of his life?"
"No. He himself never speaks of it. Nor do any of the others know what he may not have gone through before he came to Munich. That was about five years ago. But now, if you will just sit still a moment longer--so!--it's only for the reflection in the left eye, and the retouching about the mouth."
Then the painting went on for another hour in silence.
CHAPTER III.
On the outskirts of the "English Garden" there lies, among other pleasure-resorts of its class, the so-called "Garden of Paradise." In the midst of a grove stands a large, stately building, at the laying of whose corner-stone no one would have ventured to predict that it would some day become a place of refuge for so mixed a company. Here, on summer days, merry and thirsty folk are wont to gather round the tables and benches, while a band plays from a covered platform. But the large hall on the ground floor of the house is generally used for dancing, while the lower side-wings are opened for spectators and for couples that are resting from the waltz.
It was eleven o'clock at night, A thunderstorm, that had gathered toward evening, had prevented the advertised garden-concert from taking place. When the storm had scattered again after a few harmless thunderclaps, the seats filled up very slowly; and the beer-drawer at the open booth among the trees had plenty of time to doze between the stray mugs that were handed in to him to be filled. For this reason the garden had been closed earlier than usual; and when it struck eleven the house lay as still and deserted as though there were not a living being within.
And yet the long hall in the left wing, which was reached from the garden by a few steps, was, if not actually as light as day, at all events sufficiently illuminated by a dozen lamps along the wall. In the rear, where at this time scarcely any one passed through the deserted street, the upper, semicircular part of the windows was left open for the sake of ventilation, while the lower part remained tightly closed. Dark figures approached along the street, singly, or in groups of two or three just as they chanced to come together, and entered the house by the back door. On the side toward the English Garden everything remained as dark and