Woman Triumphant (La Maja Desnuda). Vicente Blasco Ibanez
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loudly. The tread of heavy feet shook the wooden floor. It was noon and the bricklayers from nearby buildings were taking advantage of the noon hour to explore those salons as if it were a new world, delighting in the warm air of the furnaces. As they went, they left footprints of plaster on the floor; they called out to each other to share their admiration before a picture; they were impatient to take it all in at a single glance; they waxed enthusiastic over the warriors in their shining armor or the elaborate uniforms of olden times. The cleverest among them served as guides to their companions, driving them impatiently. They had been there the day before. Go ahead! There was still a lot to see! And they ran toward the inner halls with the breathless curiosity of men who tread on new ground and expect something marvelous to rise before their steps.
Amid this rush of simple admirers there passed, too, some groups of Spanish ladies. All did the same thing before Goya's work, as if they had been previously coached. They went from picture to picture, commenting on the fashions of the past, feeling a sort of longing for the curious old crinolines and the broad mantillas with the high combs. Suddenly they became serious, drew their lips together and started at a quick pace for the end of the gallery. Instinct warned them. Their restless eyes felt hurt by the nude in the distance; they seemed to scent the famous Maja before they saw her and they kept on—erect, with severe countenances, just as if they were annoyed by some rude fellow's advances in the street—passing in front of the picture without turning their faces, without seeing even the adjacent pictures nor stopping till they reached the Hall of Murillo.
It was the hatred for the nude, the Christian, century-old abomination of Nature and truth, that rose instinctively to protest against the toleration of such horrors in a public building which was peopled with saints, kings and ascetics.
Renovales worshiped the canvas with ardent devotion, and placed it in a class by itself. It was the first manifestation in Spanish history of art that was free from scruples, unhampered by prejudice. Three centuries of painting, several generations of glorious names, succeeded one another with wonderful fertility; but not until Goya had the Spanish brush dared to trace the form of a woman's body, the divine nakedness that among all peoples has been the first inspiration of nascent art. Renovales remembered another nude, the Venus of Velásquez, preserved abroad. But that work had not been spontaneous; it was a commission of the monarch who, at the same time that he was paying foreigners lavishly for their studies in the nude, wished to have a similar canvas by his court-painter.
Religious oppression had obscured art for centuries. Human beauty terrified the great artists, who painted with a cross on their breasts and a rosary on their sword-hilts. Bodies were hidden under the stiff, heavy folds of sackcloth or the grotesque, courtly crinoline, and the painter never ventured to guess what was beneath them, looking at the model, as the devout worshiper contemplates the hollow mantle of the Virgin, not knowing whether it contains a body or three sticks to hold up the head. The joy of life was a sin. In vain a sun fairer than that of Venice shone on Spanish soil, futile was the light that burned upon the land with a brighter glow than that of Flanders: Spanish art was dark, lifeless, sober, even after it knew the works of Titian. The Renaissance, that in the rest of the world worshiped the nude as the supreme work of Nature, was covered here with the monk's cowl or the beggar's rags. The shining landscapes were dark and gloomy when they reached the canvas; under the brush the land of the sun appeared with a gray sky and grass that was a mournful green; the heads had a monkish gravity. The artist placed in his pictures not what surrounded him, but what he had within him, a piece of his soul—and his soul was fettered by the fear of dangers in the present life and torments in the life to come; it was black—black with sadness, as if it were dyed in the soot of the fires of the autos-de-fé.
That naked woman with her curly head resting on her folded arms was the awakening of an art that had lived in isolation. The slight frame, that scarcely rested on the green divan and the fine lace cushions, seemed on the point of rising in the air with the mighty impulse of resurrection.
Renovales thought of the two masters, equally great, and still so different. One had the imposing majesty of famous monuments—serene, correct, cold, filling the horizon of history with their colossal mass, growing old in glory without the centuries opening the least crack in their marble walls. On all sides the same façade—noble, symmetrical, calm, without the vagaries of caprice. It was reason—solid, well-balanced, alien to enthusiasm and weakness, without feverish haste. The other was as great as a mountain, with the fantastic disorder of Nature, covered with tortuous inequalities. On one side the wild, barren cliff; beyond, the glen, covered with blossoming heath; below, the garden with its perfumes and birds; on the heights, the crown of dark clouds, heavy with thunder and lightning. It was imagination in unbridled career, with breathless halts and new flights—its brow in the infinite and its feet implanted on earth.
The life of Don Diego was summed up in these words: "He had painted." That was his whole biography. Never in his travels in Spain and Italy did he feel curious to see anything but pictures. In the court of the Poet-king, he had vegetated amid gallantries and masquerades, calm as a monk of painting, always standing before his canvas and model—to-day a jester, to-morrow a little Infanta—without any other desire than to rise in rank among the members of the royal household, to see a cross of red cloth sewed on his black jerkin. He was a lofty soul, enclosed in a phlegmatic body that never tormented him with nervous desires nor disturbed the calm of his work with violent passions. When he died the good Dona Juana, his wife, died too, as though they sought each other, unable to remain apart after their long, uneventful pilgrimage through the world.
Goya "had lived." His life was that of the nobleman-artist—a stormy novel, full of mysterious amours. His pupils, on parting the curtains of his studio, saw the silk of royal skirts on their master's knees. The dainty duchesses of the period resorted to that robust Aragonese of rough, manly gallantry to have him paint their cheeks, laughing like mad at these intimate touches. When he contemplated some divine beauty on the tumbled bed, he transferred her form to the canvas by an irresistible impulse, an imperious necessity of reproducing beauty; and the legend that floated about the Spanish artist connected an illustrious name with all the beauties whom his brush immortalized.
To paint without fear or prejudice, to take delight in reproducing on canvas the glory of the nude, the lustrous amber of woman's flesh with its pale roses like a sea-shell, was Renovales' desire and envy; to live like the famous Don Francisco—a free bird with restless, shining plumage in the midst of the monotony of the human barn-yard; in his passions, in his diversions, in his tastes, to be different from the majority of men, since he was already different from them in his way of appreciating life.
But, ah! his existence was like that of Don Diego—unbroken, monotonous, laid out by level in a straight line. He painted, but he did not live. People praised his work for the accuracy with which he reproduced Nature, for the gleam of light, for the indefinable color of the atmosphere, and the exterior of things; but something was lacking, something that stirred within him and fought in vain to leap the vulgar barriers of daily existence.
The memory of the romantic life of Goya made him think of his own life. People called him a master; they bought everything he painted at good prices, especially if it was in accordance with some one else's tastes and contrary to his artistic desire; he enjoyed a calm existence, full of comforts; in his studio, almost as splendid as a palace, the façade of which was reproduced in the illustrated magazines, he had a wife who was convinced of his genius and a daughter who was almost a woman and who made the troop of his intimate pupils stammer with embarrassment. The only evidences of his Bohemian past that remained were his soft felt hats, his long beard, his tangled hair and a certain carelessness in his dress; but when his position as a "national celebrity" demanded it, he took out of his wardrobe a dress suit with the lapel covered with the insignia of honorary orders and played his part in official receptions. He had thousands of dollars in the bank. In his studio, palette in hand, he conferred with his broker, discussing what sort of investments he ought to make with the year's profits. His name awakened no surprise or aversion in high society, where it was fashionable for ladies to have their portraits painted by him.
In the early days he had provoked scandal and protests by his boldness in color and his revolutionary way of seeing Nature, but there was not connected with his name the least offence against