The Collected Stories of Stefan Zweig (4 page)

“The man my friend had sent was quiet and reserved. I never learnt anything about his life beyond hints that a beautiful woman had played a painful part in his story, and it was because of her that he had left his native Italy. And although I have no proof of it, and such an idea seems heretical and unchristian, I think that the picture you have seen, which he painted within a few weeks without a model, working with careful preparation from memory, bears the features of the woman he had loved. Whenever I came to see him at work I found him painting another version of that same sweet face again, or lost in dreamy contemplation of it. Once the painting was finished, I felt secretly afraid of the godlessness of painting a woman who might be a courtesan as the Mother of God, and asked him to choose a different model for the companion piece that I also wanted. He did not reply, and when I went to see him next day he had left without a word of goodbye. I had some scruples about adorning the altar with that picture, but the priest whom I consulted felt no such doubt in accepting it.”

“And he was right,” interrupted the painter, almost vehemently. “For how can we imagine the beauty of Our Lady if not from looking at the woman we see in the picture? Are we not made in God’s image? If so, such a portrayal, if only a faint copy of the unseen original, must be the closest to perfection that we can offer to human eyes. Now, listen—you want me to paint that second picture. I am one of those poor souls who cannot paint without a living model. I do not have the gift of painting only from within myself, I work from nature in trying to show what is true in it. I would not choose a woman whom I myself loved to model for a portrait worthy of the Mother of God—it would be sinful to see the immaculate Virgin through her face—but I would look for a lovely model and paint the woman whose features seem to me to
show the face of the Mother of God as I have seen it in devout dreams. And believe me, although those may be the features of a sinful human woman, if the work is done in pious devotion none of the dross of desire and sin will be left. The magic of such purity, like a miraculous sign, can often be expressed in a woman’s face. I think I have often seen that miracle myself.”

“Well, however that may be, I trust you. You are a mature man, you have endured and experienced much, and if you see no sin in it…”

“Far from it! I consider it laudable. Only Protestants and other sectarians denounce the adornment of God’s house.”

“You are right. But I would like you to begin the picture soon, because my vow, still only half-fulfilled, still burns in me like a sin. For twenty years I forgot about the second picture in the altarpiece. Then, quite recently, when I saw my wife’s sorrowful face as she wept by our child’s sickbed, I thought of the debt I owed and renewed my vow. And as you are aware, once again the Mother of God worked a miracle of healing, when all the doctors had given up in despair. I beg you not to leave it too long before you start work.”

“I will do what I can, but to be honest with you, never in my long career as an artist has anything struck me as so difficult. If my picture is not to look a poor daub, carelessly constructed, beside the painting of that young master—and I long to know more about his work—then I shall need to have the hand of God with me.”

“God never fails those who are loyal to him. Goodbye, then, and go cheerfully to work. I hope you will soon bring good news to my house.”

The merchant shook hands cordially with the painter once again outside the door of his house, looking confidently into the artist’s clear eyes, set in his honest German, angular face like the waters of a bright mountain lake surrounded by weathered peaks and rough rocks. The painter had another parting remark on his lips, but left it unspoken and firmly clasped the hand offered to him. The two parted in perfect accord with each other.

The painter walked slowly along beside the harbour, as he always liked to do when his art did not keep him to his studio. He loved the busy, colourful scene presented by the place, with the hurry and bustle of work at the waterside, and sometimes he sat down on a bollard to sketch the curious physical posture of a labourer, or practice the difficult knack of foreshortening a path only a foot wide. He was not at all disturbed by the loud cries of the seamen, the rattling of carts and the monotonous sound of the sea breaking on shore. He had been granted those insights that do not reflect images seen only in the mind’s eye, but can recognise in every living thing, however humble or indifferent, the ray of light to illuminate a work of art. For that reason he always liked places where life was at its most colourful, offering a confusing abundance of different delights. He walked among the sailors slowly, with a questing eye, and no one dared to laugh at him, for among all the noisy, useless folk who gather in a harbour, just as the beach is covered with empty shells and pebbles, he stood out with his calm bearing and the dignity of his appearance.

This time, however, he soon gave up his search and got to his feet. The merchant’s story had moved him deeply. It touched lightly upon an incident in his own life, and even his usual devotion to the magic of art failed him today. The mild radiance of that picture of the Virgin painted by the young Italian master seemed to illuminate the faces of all the women he saw today, even if they were only stout fishwives. Dreaming and thoughtful, he wandered indecisively for a while past the crowd in its Sunday best, but then he stopped trying to resist his longing to go back to the cathedral and look at the strange portrayal of that beautiful woman again.

A few weeks had passed since the conversation in which the painter agreed to his friend’s request for a second picture to complete the altarpiece for the Mother of God, and still the blank canvas in his
studio looked reproachfully at the old master. He almost began to fear it, and spent a good deal of time out and about in the streets of the city to keep himself from brooding on its stern admonition and his own despondency. In a life full of busy work—perhaps he had in fact worked
too
hard, failing to keep an enquiring eye on his true self—a change had come over the painter since he first set eyes on the young Italian’s picture. Future and past had been wrenched abruptly apart, and looked at him like an empty mirror reflecting only darkness and shadows. And nothing is more terrible than to feel that your life’s final peak of achievement already lies just ahead if only you stride on boldly, and then be assailed by a brooding fear that you have taken the wrong path, you have lost your power, you cannot take the last, least step forward. All at once the artist, who had painted hundreds of sacred pictures in the course of his life, seemed to have lost his ability to portray a human face well enough for him to think it worthy of a divine subject. He had looked at women who sold their faces as artist’s models to be copied by the hour, at others who sold their bodies, at citizens’ wives and gentle girls with the light of inner purity shining in their faces, but whenever they were close to him, and he was on the point of painting the first brushstroke on the canvas, he was aware of their humanity. He saw the blonde, greedy plump figure of one, he saw another’s wild addiction to the game of love; he sensed the smooth emptiness behind the brief gleam of a girlish brow, and was disconcerted by the bold gait of whores and the immodest way they swung their hips. Suddenly a world full of such people seemed a bleak place. He felt that the breath of the divine had been extinguished, quenched by the exuberant flesh of these desirable women who knew nothing about mystical virginity, or the tremor of awe in immaculate devotion to dreams of another world. He was ashamed to open the portfolios containing his own work, for it seemed to him as if he had, so to speak, made himself unworthy to live on this earth, had committed a sin in painting pictures where sturdy country folk modelled for the Saviour’s disciples and stout countrywomen
as the women who served him. His mood became more and more sombre and oppressive. He remembered himself as a young man following his father’s plough, long before he took to art instead, he saw his hard peasant hands thrusting the harrow through the black earth, and wondered if he would not have done better to sow yellow seed corn and work to support a family, instead of touching secrets and miraculous signs, mysteries not meant for him, with his clumsy fingers. His whole life seemed to be turned upside down, he had run aground on the fleeting vision of an hour when he saw an image that came back to him in his dreams, and was both torment and blessing in his waking moments. For he could no longer see the Mother of God in his prayers except as she was in the picture that presented so lovely a portrayal of her. It was so different from the beauty of all the earthly women he met, transfigured in the light of feminine humility touched with a presentiment of the divine. In the deceptive twilight of memory, the images of all the women he had ever loved came together in that wonderful figure. And when he tried, for the first time, to ignore reality and create a Mother of God out of the figure of Mary with her child that hovered before his mind’s eye, smiling gently in happy, unclouded bliss, then his fingers, wielding the brush, sank powerless as if numbed by cramp. The current was drying up, the skill of his fingers in interpreting the words spoken by the eye seemed helpless in the face of his bright dream, although he saw as clearly in his imagination as if it were painted on a solid wall. His inability to give shape to the fairest and truest of his dreams and bring it into reality was pain that burnt like fire now that reality itself, in all its abundance, did not help him to build a bridge. And he asked himself a terrible question—could he still call himself an artist if such a thing could happen to him, had he been only a hardworking craftsman all his life, fitting colours together as a labourer constructs a building out of stones?

Such self-tormenting reflections gave him not a day’s rest, and drove him with compelling power out of his studio, where the
empty canvas and carefully prepared tools of his trade reproached him like mocking voices. Several times he thought of confessing his dilemma to the merchant, but he was afraid that the latter, while a pious and well-disposed man, would never understand him, and would think it more of a clumsy excuse than real inability to begin such a work. After all, he had already painted many sacred pictures, to the general acclaim of laymen and master painters alike. So he made it his habit to wander the streets, restless and at his wits’ end, secretly alarmed when chance or a hidden magic made him wake from his wandering dreams again and again, finding himself outside the cathedral with the altarpiece in its chapel, as if there were an invisible link between him and the picture, or a divine power ruled his soul even in dreams. Sometimes he went in, half-hoping to find some flaw in the picture and thus break free of its spell, but in front of it he entirely forgot to assess the young artist’s creation enviously, judging its art and skill. Instead, he felt the rushing of wings around him, bearing him up into spheres of calm, transfigured contemplation. It was not until he left the cathedral and began thinking of himself and his own efforts that he felt the old pain again, redoubled.

One afternoon he had been wandering through the colourful streets once more, and this time he felt that his tormenting doubt was eased. The first breath of spring wind had begun to blow from the south, bringing with it the brightness, if not the warmth, of many fine spring days to come. For the first time the dull grey gloom that his own cares had cast over the world seemed to leave the painter, and a sense of the grace of God poured into his heart, as it always did when fleeting signs of spring announced the great miracle of resurrection. A clear March sun washed all the rooftops and streets clean, brightly coloured pennants fluttered down in the harbour, the water shone blue between the ships rocking gently there, and the never-ending noise of the city was like jubilant song. A troop of Spanish cavalry trotted over the main square. No hostile glances were cast at them today; the townsfolk enjoyed the sight of the sun
reflected from their armour and shining helmets. Women’s white headdresses, tugged wilfully back by the wind, revealed fresh, highly coloured complexions. Wooden clogs clattered on the cobblestones as children danced in a ring, holding hands and singing.

And in the usually dark alleys of the harbour district, to which the artist now turned feeling ever lighter at heart, something shimmering flickered like a falling rain of light. The sun could not quite show its bright face between the gabled roofs here as they leant towards each other, densely crowded together, black and crumpled like the hoods of a couple of little old women standing there chattering, one each side of the street. But the light was reflected from window to window, as if sparkling hands were waving in the air, passing back and forth in a high-spirited game. In many places the light remained soft and muted, like a dreaming eye in the first evening twilight. Down below in the street lay darkness where it had lain for years, hidden only occasionally in winter by a cloak of snow. Those who lived there had the sad gloom of constant dusk in their eyes, but the children who longed for light and brightness trusted the enticement of these first rays of spring, playing in their thin clothing on the dirty, potholed streets. The narrow strip of blue sky showing between the rooftops, the golden dance of the sunlight above made them deeply, instinctively happy.

The painter walked on and on, never tiring. He felt as if he, too, were granted secret reasons to rejoice, as if every spark of sunlight was the fleeting reflection of the radiance of God’s grace going to his heart. All the bitterness had left his face. It now shone with such a mild and kindly light that the children playing their games were amazed, and greeted him with awe, thinking that he must be a priest. He walked on and on, with never a thought for where he was going. The new force of springtime was in his limbs, just as flower buds tap hopefully at the bast holding old, weather-beaten trees together, willing it to let their young strength shoot out into the light. His step was as spry and light as a young man’s, and he seemed to be feeling fresher and livelier even though he had been
walking for hours, putting stretches of the road behind him at a faster and more flexible pace.