Woman Triumphant (La Maja Desnuda). Vicente Blasco Ibanez
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a good-natured Hungarian, who admired him sincerely and who made up for his lack of genius with a silent persistency in his work, like a beast of burden.
Renovales was glad to see his little blue eyes, hidden under his thin, silky eyebrows, his jaw, protruding like a shovel, a feature that made him look very much like the Austrian monarchs—his tall frame that bent forward under the impulse of excitement, while he stretched out his bony arms, long as tentacles, and greeted him in Italian:
"Oh, maestro, caro maestro!"
He had taken refuge in a professorship, like all artists who lack the power to continue the upward climb, who fall in the rut. Renovales recognized the artist-official in his spotless suit, dark and proper, in his dignified glance that rested from time to time on his shining boots that seemed to reflect the whole studio. He even wore on one lapel of his coat the variegated button of some mysterious decoration. The felt hat, white as meringue, which he held in his hand, was the only discordant feature in this general effect of a public functionary. Renovales caught his hands with sincere enthusiasm. The famous Tekli! How glad he was to see him! What times they used to have in Rome! And with a smile of kindly superiority he listened to the story of his success. He was a professor in Budapest; every year he saved money in order to go and study in some celebrated European museum. At last he had succeeded in coming to Spain, fulfilling the desire he had cherished for many years.
"Oh, Velásquez! uel maestro, caro Mariano!"
And throwing back his head, with a dreamy expression in his eyes, he moved his protruding jaw covered with reddish hair, with a voluptuous look, as though he were sipping a glass of his sweet native Tokay.
He had been in Madrid for a month, working every morning in the Museo. His copy of Las Meninas was almost finished. He had not been to see his "Dear Mariano" sooner because he wanted to show him this work. Would he come and see him some morning in the Museo? Would he give him this proof of his friendship? Renovales tried to decline. What did he care for a copy? But there was an expression of such humble supplication in the Hungarian's little eyes, he showered him with so many praises of his great triumphs, expatiating on the success that his picture Man Overboard! had won at the last Budapest Exhibition, that the master promised to go to the Museo.
And a few days later, one morning when a gentleman whose portrait he was painting canceled his appointment, Renovales remembered his promise and went to the Museo del Prado, feeling, as he entered, the same sensation of insignificance and homesickness that a man suffers on returning to the university where he has passed his youth.
When he found himself in the Hall of Velásquez, he suddenly felt seized with religious respect. There was a painter! The painter! All his irreverent theories of hatred for the dead were left outside the door. The charm of those canvases that he had not seen for many years rose again—fresh, powerful, irresistible; it overwhelmed him, awakening his remorse. For a long time he remained motionless, turning his eyes from one picture to another, eager to comprise in one glance the whole work of the immortal, while around him the hum of curiosity began again.
"Renovales! That's Renovales!"
The news had started from the door, spreading through the whole Museo, reaching the Hall of Velásquez behind his steps. The groups of curious people stopped gazing at the pictures to look at that huge, self-possessed man who did not seem to realize the curiosity that surrounded him. The ladies, as they went from canvas to canvas, looked out of the corner of their eyes at the celebrated artist whose portrait they had seen so often. They found him more ugly, more commonplace than he appeared in the engravings in the papers. It did not seem possible that that "porter" had talent and painted women so well. Some young fellows approached to look at him more closely, pretending to gaze at the same pictures as the master. They scrutinized him, noting his external peculiarities with that desire for enthusiastic imitation which marks the novice. Some determined to copy his soft bow-tie and his tangled hair, with the fantastic hope that this would give them a new spirit for painting. Others complained to themselves that they were beardless and could not display the curly gray whiskers of the famous master.
He, with his keen sensitiveness to praise, was not long in observing the atmosphere of curiosity that surrounded him. The young copyists seemed to stick closer to their easels, knitted their brows, dilated their nostrils, and moved their brushes slowly, with hesitation, knowing that he was behind them, trembling at every step that sounded on the inlaid floor, full of fear and desire that he might deign to cast a glance over their shoulders. He divined with a sort of pride what all the mouths were whispering, what all the eyes were saying, fixed absent-mindedly on the canvases only to turn toward him.
"It's Renovales—the painter Renovales."
The master looked for a long while at one of the copyists—an old man, decrepit and almost blind, with heavy convex spectacles that gave him the appearance of a sea-monster, whose hands trembled with senile unsteadiness. Renovales recognized him. Twenty years before, when he used to study in the Museo, he had seen him in the same spot, always copying Los Borrachos. Even if he should become completely blind, if the picture should be lost, he could reproduce it by feeling. In those days they had often talked together, but the poor man could not have the remotest suspicion that the Renovales whom people talked so much about was the same lad who on more than one occasion had borrowed a brush from him, but whose memory was scarcely preserved in his mind, mummified by eternal imitation.
Renovales thought of the kindness of the chummy Bacchus and the gang of ruffians of his court, who for half a century had been supporting the household of the copyist, and he fancied he could see the old wife, the married children, the grandchildren—a whole family supported by the old man's trembling hand.
Some one whispered to him the news that was filling the Museo with excitement and the copyist, shrugging his shoulders disdainfully, raised his moribund glance from his work.
And so Renovales was there, the famous Renovales! At last he was going to see the prodigy!
The master saw those grotesque eyes like those of a sea-monster, fixed on him, with an ironical gleam behind the heavy lenses. The grafter! He had already heard of that studio, as splendid as a palace, behind the Retire What Renovales had in such plenty had been taken from men like him who, for want of influence, had been left behind. He charged thousands of dollars for a canvas, when Velásquez worked for three pesetas a day and Goya painted his portraits for a couple of doubloons. Deceit, modernism, the audacity of the younger generation that lacked scruples, the ignorance of the simpletons that believe the newspapers! The only good thing was right there before him. And once more shrugging his shoulders scornfully, he lost his expression of ironical protest and returned to his thousandth copy of Los Borrachos.
Renovales, seeing that the curiosity about him was diminishing, entered the little hall that contained the picture of Las Meninas. There was Tekli in front of the famous canvas that occupies the whole back of the room, seated before his easel, with his white hat pushed back to leave free his throbbing brow that was contracted with a tenacious insistence on accuracy.
Seeing Renovales, he rose hastily, leaving his palette on the piece of oil-cloth that protected the floor from spots of paint. Dear master! How thankful he was to him for this visit! And he showed him the copy, minutely accurate but without the wonderful atmosphere, without the miraculous realism of the original. Renovales approved with a nod; he admired the patient toil of that gentle ox of art, whose furrows were always alike, of geometric precision, without the slightest negligence or the least attempt at originality.
"Ti piace?" he asked anxiously, looking into his eyes to divine his thoughts. "È vero? È vero?" he repeated with the uncertainty of a child who fears that he is being deceived.
And suddenly calmed by the evidences of Renovales' approval, that kept growing more extravagant to conceal his indifference, the Hungarian grasped both of his hands and lifted them to his breast.
"Sono contento, maestro, sono contento."
He did not want to let Renovales go. Since he had had the generosity to come and see his work, he could not let him go away, they would lunch together at the hotel