FullReads

I am unable to repeat literally, what Berthold said, while he went on painting rapidly, and treated me only as his fag. He went on in the tone in which he had begun, scoffing at the limited nature of every human effort. Ah, I was inspecting the depth of a mind that had received its death-wound, and that only uttered its complaints in bitter irony. Morning dawned, and the glimmer of the taper grew pale before the entrance of sunlight. Berthold painted on zealously, but he became more and more silent, and only single sounds–ultimately, only sighs–escaped his burdened breast. He had planned the entire altar with all its gradation of colour, and even now the picture stood out quite prominently.

“Admirable! admirable!” I cried out with delight.

“Do you think,” said Berthold, faintly, “that I shall make something of it? I at least took great pains to make my drawing correct, but now I can do no more.”

“No, no, not a stroke more, dear Berthold,” I exclaimed, “it is almost incredible how you have made so much progress in such a work within a few hours. But you exert yourself too much, and are quite lavish of your power.”

“And yet,” said Berthold, “these are my happiest hours. Perhaps I talked too much, but it is only in words that the pain which consumes my vitals finds a vent.”

“You seem to feel very unhappy, my poor friend,” said I, “some frightful event has had an evil influence on your life.”

The painter slowly took his materials into the chapel, extinguished the lights, and coming up to me, seized my hand, and said, in a faltering voice, “Could you be cheerful, nay, could you have one quiet moment, if you were conscious of a fearful, irreparable crime?”

I stood perfectly amazed. The bright sunbeams fell on the painter’s pallid, agitated countenance, and he almost looked like a spectre as he staggered through the little door into the interior of the college.

I could scarcely wait for the hour on the following day, when Professor Walter had appointed to see me. I told him the whole affair of the previous night, which had excited me not a little; I described in the most lively colours the strange conduct of the painter, and did not suppress a word that he had uttered–not even those, which related to himself. But the more I hoped for the professor’s sympathy, the more indifferent he appeared; nay, he smiled upon me in a most unpleasant manner when I continued to talk of Berthold, and pressed him to tell me all he knew about this unfortunate man.

“He is a strange creature that painter,” said the professor, “mild, good-tempered, sober, industrious, as I told you before, but weak in his intellect. If he had been otherwise he would never have descended, even though he did commit a crime, from a great historical painter, to a poor dauber of walls.”

This expression, “dauber of walls,” annoyed me as much as the professor’s general indifference. I tried to convince him that Berthold was even now a most estimable artist, and deserving of the highest, the most active sympathy.

“Well,” said the professor at last, “since you take so much interest in Berthold you shall hear all that I know of him, and that is not a little. By way of introduction we will go into the church at once. As Berthold has worked hard throughout the night he will rest during the forenoon. If we found him in the church my design would fail.”

We went to the church, the professor had the cloth removed from the covered picture, and a work of the most magical splendour, such as I had never seen, was revealed to me. The composition was in the style of Raffaelle, simple and of heavenly sublimity. Mary and Elizabeth were sitting on the grass in a beautiful garden; the children, Jesus and John, were before them, playing with flowers, and in the background towards the side, a male figure was praying. Mary’s lovely, heavenly face, the dignity and elevation of her entire figure, filled me with astonishment and the deepest admiration. She was beautiful, more beautiful than an earthly woman, and her glance indicated the higher power of the mother of God, like that of Raffaelle’s Mary in the Dresden Gallery. Ah! was not the deepest thirst for eternity awakened perforce in the human heart, by those wondrous eyes round which a deep shadow was floating? Did not those soft, half-opened lips speak in consolatory language, as in the sweet melody of angels, of the infinite happiness of heaven? An indescribable feeling impelled me to cast myself down in the dust before her, the Queen of Heaven. I had lost the power of speech, and could not turn my eyes from the incomparable figure. Only Mary and the children were quite finished; the last touch had not, apparently, been given to the figure of Elizabeth, and the praying man was not yet painted over. Approaching nearer, I perceived in this man the features of Berthold, and already anticipated in my mind what the professor presently said: “This picture is Berthold’s last work. We got it several years ago from N—-, in Upper Silesia, where one of our colleagues bought it at an auction. Although unfinished, we had it fitted in here, in the place of the wretched altar-piece which we had formerly. When Berthold first came and saw the picture, he uttered a loud shriek and fell senseless to the ground. Afterwards he carefully avoided looking at it, and told me in confidence that it was his last work of this class. I hoped that I should gradually persuade him to finish it, but every proposal of the sort he rejected with the utmost abhorrence, and to keep him in good spirits, and in the full possession of his powers, I was forced to cover up the picture so long as he remained in the church. If it met his eye only by accident, he ran as if impelled by some irresistible power, cast himself sobbing on the ground, a paroxysm seized him, and he was for many days quite unfit for work.”