Page:Tales from the German - Oxenford.djvu/441

 than painting church walls with marble pillars. Architectural painting is, after all, something subordinate; the historical painter, the landscape painter, stands infinitely higher. With them, mind and fancy, no longer confined to the narrow limits of geometrical lines, take a higher flight. Even the only fantastic part of your painting, that perspective, which deceives the senses, depends upon accurate calculation, and the result therefore is the product not of genius, but of mathematical speculation." While I was speaking thus, the painter laid aside his pencil, and rested his head on his hand.

"Friend stranger," he began, in a solemn, indistinct voice. "thou speakest profanely, when thou endeavourest to arrange the different branches of art according to rank, like the vassals of some proud king. And still more profane is it, when thou only esteemest those presumptuous fools who, being deaf to the clang of the fetters that enslave them, and being without feeling for the pressure of the earthy, wish to think themselves free—yea, even to be gods—and to rule light and life after their own fashion. Dost thou know the fable of Prometheus, who wished to be a creator, and stole fire from heaven to animate his lifeless figures? He succeeded; the forms stalked living along, and from their eyes beamed forth that heavenly fire that burned within them; but the impious being, who had dared to attempt the divine, was condemned to fearful, endless torment, without redemption. The heart which had felt the divine, in which the desire after the unearthly had awakened, was torn by the vulture, to which revenge had given birth, and which now fed upon the vitals of the presumptuous one. He who has attempted the heavenly, feels earthly pain for ever."

The painter stood absorbed in his own reflections.

"Berthold," I exclaimed, "what has all this to do with your art? I do not think that any one can deem it presumption to present the human form, either by painting or sculpture."

"Um, ha," laughed Berthold, in wild derision; "child's play is no presumption. It is all child's play with those folks, who comfortably dip their pencils into colour-pots, and daub a canvass with the veritable desire of producing human beings; but it always turns out as if some drudge of nature had undertaken to make men, as it stands in that tragedy, and had failed. Such as those are no presumptuous sinners, but poor innocent fools. But if one strives to attain the highest, not the mere sensual, like Titian—no, the highest in divine nature, the Promethean spark in man—that is a precipice—a narrow edge on which we stand—the abyss is open! The bold sailor soars above him, and a devilish deceit lets him perceive that below, which he wished to see above the stars." The painter uttered a deep sigh, passed his hand over his forehead, and then looked upwards. "But why do I talk all this mad stuff to you, comrade, and leave off painting? Look here, mate, this is what I call well and honestly drawn. How noble is the rule! All the lines combine to a determined end—a determined, clearly conceived effect. Only that which