Woman Triumphant (La Maja Desnuda). Vicente Blasco Ibanez
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of society. His women were women of the people, picturesque and repugnant; the only flesh that he had shown on his canvases was that of a sweaty laborer or the chubby child. He was an honored master, who cultivated his stupendous ability with the same calm that he showed in his business affairs.
What was lacking in his life? Ah! Renovales smiled ironically. His whole life suddenly came to mind in a tumultuous rush of memories. Once more he fixed his glance on that woman, shining white like a pearl amphora, with her arms above her head, her breasts erect and triumphant, her eyes resting on him, as if she had known him for many years, and he repeated mentally with an expression of bitterness and dejection:
"Goya's Maja, the Maja Desnuda!"
II
As Mariano Renovales recalled the first years of his life, his memory, always sensitive to exterior impressions, called up the ceaseless clang of hammers. From the rising of the sun till the earth began to darken with the shadows of twilight the iron sang or groaned on the anvil, jarring the walls of the house and the floor of the garret, where Mariano used to play, lying on the floor at the feet of a pale, sickly woman with serious, deep-set eyes, who frequently dropped her sewing to kiss the little one with sudden violence, as though she feared she would not see him again.
Those tireless hammers that had accompanied Mariano's birth, made him jump out of bed as soon as day broke and go down to the shop to warm himself beside the glowing forge. His father, a good-natured Cyclops—hairy and blackened—walked back and forth, turning over the irons, picking up files, giving orders to his assistants with loud shouts, in order to be heard in the din of the hammering. Two sturdy fellows, stripped to the waist, swung their arms, panting over the anvil, and the iron—now red, now golden—leaped in bright showers, scattered in crackling sprays, peopling the black atmosphere of the shop with a swarm of fiery flies that died away in the soot of the corners.
"Take care, little one!" said the father, protecting his delicate curly-haired head with one of his great hands.
The little fellow felt attracted by the colors of the glowing iron, till with the thoughtlessness of childhood he sometimes tried to pick up the fragments that glowed on the ground like fallen stars.
His father would push him out of the shop, and outside the door—black with soot—Mariano could see stretching out below him in the flood of sunlight the fields with their red soil cut into geometric figures by stone walls; at the bottom the valley with groups of poplars bordering the winding, crystal stream, and before him the mountains, covered to the very tops with dark pine woods. The shop was in the suburbs of a town and from it and the villages of the valley came the jobs that supported the blacksmith—new axles for carts, plowshares, scythes, shovels, and pitchforks in need of repair.
The incessant pounding of the hammers seemed to stir up the little fellow, inspiring him with a fever of activity, tearing him from his childish amusements. When he was eight years old, he used to seize the rope of the bellows and pull it, delighting in the shower of sparks that the current of air drove out of the lighted coals. The Cyclops was gratified at the strength of his son, robust and vigorous like all the men of his family, with a pair of fists that inspired a wholesome respect in all the village lads. He was one of his own blood. From his poor mother, weak and sickly, he inherited only his propensity toward silence and isolation that sometimes, when the fever of activity died out in him, kept him for hours at a time watching the fields, the sky or the brooks that came tumbling down over the pebbles to join the stream at the bottom of the valley.
The boy hated school, showing a holy horror of letters. His strong hands shook with uncertainty when he tried to write a word. On the other hand, his father and the other people in the shop admired the ease with which he could reproduce objects in a simple, ingenuous drawing, in which no detail of naturalness was lacking. His pockets were always full of bits of charcoal and he never saw a wall or stone that had a suggestion of whiteness, without at once tracing on it a copy of the objects that struck his eyes because of some marked peculiarity. The outside walls of the shop were black with little Mariano's drawings. Along the walls ran the pigs of Saint Anthony, with their puckered snouts and twisted tails, that wandered through the village and were supported by public charity, to be raffled on the festival of the saint. And in the midst of this stout procession stood out the profiles of the blacksmith and all the workmen of the shop, with an inscription beneath, that no doubt might arise as to their identity.
"Come here, woman," the blacksmith would shout to his sick wife when he discovered a new sketch. "Come and see what our son has done. A devil of a boy!"
And influenced by this enthusiasm, he no longer complained when Mariano ran away from school and the bellows rope to spend the whole day running through the valley or the village, a piece of charcoal in his hand, covering the rocks of the mountain and the house walls with black lines, to the despair of the neighbors. In the tavern in the Plaza Mayor he had traced the heads of the most constant customers, and the innkeeper pointed them out proudly, forbidding anyone to touch the wall for fear the sketches would disappear. This work was a source of vanity to the blacksmith when Sundays, after mass, he went in to drink a glass with his friends. On the wall of the rectory he had traced a Virgin, before which the most pious old women in the village stopped with deep sighs.
The blacksmith with a flush of satisfaction accepted all the praises that were showered on the little fellow as if they belonged in large part to himself. Where had that prodigy come from, when all the rest of his family were such brutes? And he nodded affirmatively when the village notables spoke of doing something for the boy. To be sure, he did not know what to do, but they were right; his Mariano was not destined to hammer iron like his father. He might become as great a personage as Don Rafael, a gentleman who painted saints in the capital of the province and was a teacher of painting in a big house, full of pictures, in the city. During the summer he came with his family to live in an estate in the valley.
This Don Rafael was a man of imposing gravity; a saint with a large family of children, who wore a frock-coat as if it were a cassock and spoke with the suavity of a friar through his white beard that covered his thin, pink cheeks. In the village church they had a wonderful picture painted by him, a Purísima, whose soft glowing colors made the legs of the pious tremble. Besides, the eyes of the image had the marvelous peculiarity of looking straight at those who contemplated it, following them even though they changed position. A veritable miracle. It seemed impossible that that good gentleman who came up every morning in the summer to hear mass in the village, had painted that supernatural work. An Englishman had tried to buy it for its weight in gold. No one had seen the Englishman, but every one smiled sarcastically when they commented on the offer. Yes, indeed, they were likely to let the picture go! Let the heretics rage with all their millions. The Purísima would stay in her chapel to the envy of the whole world—and especially of the neighboring villages.
When the parish priest went to visit Don Rafael to speak to him about the blacksmith's son, the great man already knew about his ability. He had seen his drawings in the village; the boy had some talent and it was a pity not to guide him in the right path. After this came the visits of the blacksmith and his son, both trembling when they found themselves in the attic of the country house that the great painter had converted into a studio, seeing close at hand the pots of color, the oily palette, the brushes and those pale blue canvases on which the rosy, chubby cheeks of the cherubim or the ecstatic face of the Mother of God were beginning to assume form.
At the end of the summer the good blacksmith decided to follow Don Rafael's advice. As long as he was so good as to consent to helping the boy, he was not going to be the one to interfere with his good fortune. The shop gave him enough to live on. All it meant was to work a few years longer, to support himself till the end of his life beside the anvil, without an assistant or a successor. His son was born to be somebody, and it was a serious sin to stop his progress by scorning the help of his good protector.
His mother, who constantly grew weaker and more sickly, cried as if the journey to the capital of the province were to the end of