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The professor smiled: “The higher kingdom,” said he, “should be recognised in this world, and this recognition can be awakened by cheerful symbols, such as life–nay, the spirit which descends from that kingdom into earthly life–presents. Our home is above, but while we dwell here, our kingdom is of this world also.”

“Ay,” thought I, “in every thing that you have done you have indeed shown that your kingdom is of this world–nay, of this world only;” but I did not communicate my thoughts to Professor Aloysius Walter, who proceeded thus:

“What you say of the magnificence of our buildings in this place can only refer properly to the pleasant appearance of the form. Here, where we cannot afford marble, and great masters in painting will not work for us, we are–in conformity with the modern fashion–obliged to make use of substitutes. If we get as high as polished plaster we have done a great deal, and our different kinds of marble are often nothing more than the work of the painter. This is the case in our church, which, thanks to the liberality of our patrons, has been newly decorated.”

I expressed a desire to see the church; the professor led me down, and when I entered the Corinthian colonnade, which formed the nave of the church, I felt the pleasing–too pleasing impression of the graceful proportions. To the left of the principal altar a lofty scaffolding had been erected, upon which a man stood, who was painting over the walls in the antique style.

“Now! how are you going on, Berthold?” cried the professor.

The painter turned round to us, but immediately proceeded with his work, saying in an indistinct, and almost inaudible voice: “Great deal of trouble–crooked, confused stuff–no rule to make use of–beasts–apes–human faces–human faces–miserable fool that I am!”

These last words he cried aloud in a voice, that nothing but the deepest agony working in the soul could produce. I felt strangely affected;–these words, the expression of face, the glance which he had previously cast at the professor, brought before my eyes the whole struggling life of an unfortunate artist. The man could have been scarcely more than forty years old; his form, though disfigured by the unseemly, dirty costume of a painter, had something in it indescribably noble, and deep grief could only discolour his face, but could not extinguish the fire that sparkled in his black eyes. I asked the professor for particulars respecting this painter: “He is a foreign artist,” was the reply, “who came here just at the time when the repair of the church had been resolved upon. He undertook the work we offered him with pleasure, and indeed his arrival was for us a stroke of good fortune, since neither here, nor for a great distance round, could we find a painter so admirably fitted for all that we require. Besides, he is the most good-natured creature in the world, and we all love him heartily; for that reason he got on well in our college. Beside giving him a considerable salary for his work, we board him, which, by the way, does not entail a very heavy burden upon us, for he is abstemious almost to excess, though perhaps it may accord with the weakness of his constitution.

“But,” said I, “he seemed to-day so peevish–so irritable.”

“That,” replied the professor, “is owing to a particular cause. But let us look at some fine pictures on the side altars, which by a lucky chance we obtained some time ago. There is only a single original–a Dominichino–among them, the rest are by unknown masters of the Italian school; but if you are free from prejudice, you will be forced to confess that every one of them might bear the most celebrated name.”

I found it was exactly as the professor had said. Strangely enough, the only original was one of the weakest–if not the very, weakest of the collection, while the beauty of many of the anonymous pictures had for me an irresistible charm. The picture on one of the altars was covered up, and I asked the cause of this: “This picture,” said the professor, “is the finest that we possess,–it is the work of a young artist of modern times–certainly his last, for his flight is checked. At this time we are obliged, for certain reasons, to cover it up, but to-morrow, or the day after, I shall perhaps be in a condition to show it you.”