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 where he lived. They would open a bottle of Chianti to recall their life in Rome; they would talk of the merry Bohemian days of their youth, of those comrades of various nationalities that used to gather in the Café del Greco—some already dead, the rest scattered through Europe and America, a few celebrated, the majority vegetating in the schools of their native land, dreaming of a final masterpiece before which death would probably overtake them.
Renovales felt overcome by the insistence of the Hungarian, who seized his hands with a dramatic expression, as though he would die at a refusal. Good for the Chianti! They would lunch together, and while Tekli was giving a few touches to his work, he would wait for him, wandering through the Museo, renewing old memories.
When he returned to the Hall of Velásquez, the assemblage had diminished; only the copyists remained bending over their canvases. The painter felt anew the influence of the great master. He admired his wonderful art, feeling at the same time the intense, historical sadness that seemed to emanate from all of his work. Poor Don Diego! He was born in the most melancholy period of Spanish history. His sane realism was fitted to immortalize the human form in all its naked beauty and fate had provided him a period when women looked like turtles, with their heads and shoulders peeping out between the double shell of their inflated gowns, and when men had a sacerdotal stiffness, raising their dark, ill-washed heads above their gloomy garb. He had painted what he saw; fear and hypocrisy were reflected in the eyes of that world. In the jesters, fools and humpbacks immortalized by Don Diego was revealed the forced merriment of a dying nation that must needs find distraction in the monstrous and absurd. The hypochondriac temper of a monarchy weak in body and fettered in spirit by the terrors of hell, lived in all those masterpieces, that inspired at once admiration and sadness. Alas for the artistic treasures wasted in immortalizing a period which without Velásquez would have fallen into utter oblivion!
Renovales thought, too, of the man, comparing with a feeling of remorse the great painter's life with the princely existence of the modern masters. Ah, the munificence of kings, their protection of artists, that people talked about in their enthusiasm for the past! He thought of the peaceful Don Diego and his salary of three pesetas as court painter, which he received only at rare intervals; of his glorious name figuring among those of jesters and barbers in the list of members of the king's household, forced to accept the office of appraiser of masonry to improve his situation, of the shame and humiliation of his last years in order to gain the Cross of Santiago, denying as a crime before the tribunal of the Orders that he had received money for his pictures, declaring with servile pride his position as servant of the king, as though this title were superior to the glory of an artist. Happy days of the present, blessed revolution of modern life, that dignifies the artist, and places him under the protection of the public, an impersonal sovereign that leaves the creator of beauty free and ends by even following him in new-created paths!
Renovales went up to the central gallery in search of another of his favorites. The works of Goya filled a large space on both walls. On one side the portraits of the kings and queens of the Bourbon decadence; heads of monarchs, or princes, crushed under their white wigs; sharp feminine eyes, bloodless faces, with their hair combed in the form of a tower. The two great painters had coincided in their lives with the moral downfall of two dynasties. In the Hall of Velásquez the thin, bony, fair-haired kings, of monastic grace and anæmic pallor, with their protruding under-jaws, and in their eyes an expression of doubt and fear for the salvation of their souls. Here, the corpulent, clumsy monarchs, with their huge, heavy noses, fatefully pendulous, as though by some mysterious relation they were dragging on the brain, paralyzing its functions; their thick underlips, hanging in sensual inertia; their eyes, calm as those of cattle, reflecting in their tranquil light indifference for everything that did not directly concern their own well-being. The Austrians, nervous, restless, vacillating with the fever of insanity, riding on theatrical chargers, in dark landscapes, bounded by the snowy crests of the Guadarrama, as sad, cold and crystallized as the soul of the nation; the Bourbons, peaceful, adipose, resting—surfeited—on their huge calves, without any other thought than the hunt of the following day or the domestic intrigue that would set the family in dissension, deaf to the storms that thundered beyond the Pyrenees. The one, surrounded by brutal-faced imbeciles, by gloomy pettifoggers, by Infantas with childish faces and the hollow skirts of a Virgin's image on an altar; the others bringing as a merry, unconcerned retinue, a rabble clad in bright colors, wrapped in scarlet capes or lace mantillas, crowned with ornamental combs or masculine hats—a race that, without knowing it, was sapping its heroism in picnics at the Canal or in grotesque amusements. The lash of invasion aroused them from their century-long infancy. The same great artist that for many years had portrayed the simple thoughtlessness of this gay people, showy and light-hearted as a comic-opera chorus, afterwards painted them, knife in hand, attacking the Mamelukes with the agility of monkeys, felling those Egyptian centaurs under their slashes, blackened with the smoke of a hundred battles, or dying with theatrical pride by the light of a lantern in the gloomy solitude of Moncloa, shot by the invaders.
Renovales admired the tragic atmosphere of the canvas before him. The executioners hid their faces, leaning on their guns; they were the blind executors of fate, a nameless force, and before them rose the pile of palpitating, bloody flesh; the dead with strips of flesh torn off by the bullets, showing reddish holes, the living with folded arms, defying the murderers in a tongue they could not understand, or covering their faces with their hands, as though this instinctive movement could save them from the lead. A whole people died, to be born again. And beside this picture of horror and heroism, in another close to it, he saw Palafox, the Leonidas of Saragossa, mounted on horseback, with his stylish whiskers and the arrogance of a blacksmith in a captain-general's uniform, having in his bearing something of the appearance of a popular chieftain, holding in one hand, gloved in buckskin, the curved saber, and in the other the reins of his stocky, big-bellied steed.
Renovales thought that art is like light, which acquires color and brightness from the objects it touches. Goya had passed through a stormy period; he had been a spectator of the resurrection of the soul of the people and his painting contained the tumultuous life, the heroic fury that you look for in vain in the canvases of that other genius, tied as he was to the monotonous existence of the palace, unbroken except by the news of distant wars in which they had little interest and whose victories, too late to be useful, had the coldness of doubt.
The painter turned away from the dames of Goya, clad in white cambric, with their rosebud mouths and with their hair done up like a turban, to concentrate his attention on a nude figure, the luminous gleam of whose flesh seemed to throw the adjacent canvases in a shadow. He contemplated it closely for a long time, bending over the railing till the brim of his hat almost touched the
