gentle courage had brought her safely over land and sea; her mild, unflagging perseverance had made a place for her in the famous city, even like a flower that finds a chink for itself, and a little earth to grow in, on whatever ancient wall its slender roots may fasten. Here she dwelt, in her tower, possessing a friend or two in Rome, but no home companion except the flock of doves, whose cote was in a ruinous chamber contiguous to her own. They soon became as familiar with the fair-haired Saxon girl as if she were a born sister of their brood; and her customary white robe bore such an analogy to their snowy plumage that the confraternity of artists called Hilda the Dove, and recognized her aerial apartment as the Dovecote. And while the other doves flew far and wide in quest of what was good for them, Hilda likewise spread her wings, and sought such ethereal and imaginative sustenance as God ordains for creatures of her kind.
We know not whether the result of her Italian studies, so far as it could yet be seen, will be accepted as a good or desirable one. Certain it is, that since her arrival in the pictorial land, Hilda seemed to have entirely lost the impulse of original design, which brought her thither. No doubt the girl’s early dreams had been of sending forms and hues of beauty into the visible world out of her own mind; of compelling scenes of poetry and history to live before men’s eyes, through conceptions and by methods individual to herself. But more and more, as she grew familiar with the miracles of art that enrich so many galleries in Rome, Hilda had ceased to consider herself as an original artist. No, wonder that this change should have befallen her. She was endowed with a deep and sensitive faculty of appreciation; she had the gift of discerning and worshipping excellence in a most unusual measure. No other person, it is probable, recognized so adequately, and enjoyed with such deep delight, the pictorial wonders that were here displayed. She saw no, not saw, but felt through and through a picture; she bestowed upon it all the warmth and richness of a woman’s sympathy; not by any intellectual effort, but by this strength of heart, and this guiding light of sympathy, she went straight to the central point, in which the master had conceived his work. Thus she viewed it, as it were, with his own eyes, and hence her comprehension of any picture that interested her was perfect.
This power and depth of appreciation depended partly upon Hilda’s physical organization, which was at once healthful and exquisitely delicate; and, connected with this advantage, she had a command of hand, a nicety and force of touch, which is an endowment separate from pictorial genius, though indispensable to its exercise.
It has probably happened in many other instances, as it did in Hilda’s case, that she ceased to aim at original achievement in consequence of the very gifts which so exquisitely fitted her to profit by familiarity with the works of the mighty old masters. Reverencing these wonderful men so deeply, she was too grateful for all they bestowed upon her, too loyal, too humble, in their awful presence, to think of enrolling herself in their society. Beholding the miracles of beauty which they had achieved, the world seemed already rich enough in original designs, and nothing more was so desirable as to diffuse those selfsame beauties more widely among mankind. All the youthful hopes and ambitions, the fanciful ideas which she had brought from home, of great pictures to be conceived in her feminine mind, were flung aside, and, so far as those most intimate with her could discern, relinquished without a sigh. All that she would henceforth attempt and that most reverently, not to say religiously was to catch and reflect some of the glory which had been shed upon canvas from the immortal pencils of old.
So Hilda became a copyist: in the Pinacotheca of the Vatican, in the galleries of the Pamfili-Doria palace, the Borghese, the Corsini, the Sciarra, her easel was set up before many a famous picture by Guido, Domenichino, Raphael, and the devout painters of earlier schools than these. Other artists and visitors from foreign lands beheld the slender, girlish figure in front of some world-known work, absorbed, unconscious of everything around her, seeming to live only in what she sought to do. They smiled, no doubt, at the audacity which led her to dream of copying those mighty achievements. But, if they paused to look over her shoulder, and had sensibility enough to understand what was before their eyes, they soon felt inclined to believe that the spirits of the old masters were hovering over Hilda, and guiding her delicate white hand. In truth, from whatever realm of bliss and many colored beauty those spirits might descend, it would have been no unworthy errand to help so gentle and pure a worshipper of their genius in giving the last divine touch to her repetitions of their works.
Her copies were indeed marvellous. Accuracy was not the phrase for them; a Chinese copy is accurate. Hilda’s had that evanescent and ethereal life — that flitting fragrance, as it were, of the originals — which it is as difficult to catch and retain as it would be for a sculptor to get the very movement and varying color of a living man into his marble bust. Only by watching the efforts of the most skilful copyists — men who spend a lifetime, as some of them do, in multiplying copies of a single picture — and observing how invariably they leave out just the indefinable charm that involves the last, inestimable value, can we understand the difficulties of the task which they undertake.
It was not Hilda’s general practice to attempt reproducing the whole of a great picture, but to select some high, noble, and delicate portion of it, in which the spirit and essence of the picture culminated: the Virgin’s celestial sorrow, for example, or a hovering angel, imbued with immortal light, or a saint with the glow of heaven in his dying face, — and these would be rendered with her whole soul. If a picture had darkened into an indistinct shadow through time and neglect, or had been injured by cleaning, or retouched by some profane hand, she seemed to possess the faculty of seeing it in its pristine glory. The copy would come from her hands with what the beholder felt must be the light which the old master had left upon the original in bestowing his final and most ethereal touch. In some instances even (at least, so those believed who best appreciated Hilda’s power and sensibility) she had been enabled to execute what the great master had conceived in his imagination, but had not so perfectly succeeded in putting upon canvas; a result surely not impossible when such depth of sympathy as she possessed was assisted by the delicate skill and accuracy of her slender hand. In such cases the girl was but a finer instrument, a more exquisitely effective piece of mechanism, by the help of which the spirit of some great departed painter now first achieved his ideal, centuries after his own earthly hand, that other tool, had turned to dust.
Not to describe her as too much a wonder, however, Hilda, or the Dove, as her well-wishers half laughingly delighted to call her, had been pronounced by good judges incomparably the best copyist in Rome. After minute examination of her works, the most skilful artists declared that she had been led to her results by following precisely the same process step by step through which the original painter had trodden to the development of his idea. Other copyists — if such they are worthy to be called — attempt only a superficial imitation. Copies of the old masters in this sense are produced by thousands; there are artists, as we have said, who spend their lives in painting the works, or perhaps one single work, of one illustrious painter over and over again: thus they convert themselves into Guido machines, or Raphaelic machines. Their performances, it is true, are often wonderfully deceptive to a careless eye; but working entirely from the outside, and seeking only to reproduce the surface, these men are sure to leave out that indefinable nothing, that inestimable something, that constitutes the life and soul through which the picture gets its immortality. Hilda was no such machine as this; she wrought religiously, and therefore wrought a miracle.
It strikes us that there is something far higher and nobler in all this, in her thus sacrificing herself to the devout recognition of the highest excellence in art, than there would have been in cultivating her not inconsiderable share of talent for the production of works from her own ideas. She might have set up for herself, and won no ignoble name; she might have helped to fill the already crowded and cumbered world with pictures, not destitute of merit, but falling short, if by ever so little, of the best that has been done; she might thus have gratified some tastes that were incapable of appreciating Raphael. But this could be done only by lowering the standard of art to the comprehension of the spectator. She chose the better and loftier and more unselfish part, laying her individual hopes, her fame, her prospects of enduring remembrance, at the feet of those great departed ones whom she so loved and venerated; and therefore
