Page:Tales from the German - Oxenford.djvu/449

 gave him courage to begin a companion to it. Hackert himself selected one of the most lovely spots in the gorgeous vicinity of Naples; and, as the first picture had represented sunset, this landscape was to show the effect of sunrise. He had a number of strange trees, a number of vineyards, and, above all, a good deal of mist to paint.

"Berthold was sitting on a large flat stone, in this very spot, completing the sketch of the great picture after nature. 'Bravo—well done!' said a voice near him. He looked up. The Maltese was viewing his work, and added, with a sarcastic smile, 'You have only forgotten one thing, my dear young friend. Only look yonder, at the wall of the distant vineyard; the one covered with green tendrils. The door is half-open, don't you see? You must represent that with its proper shading. The half-open door makes a surprising effect!'

"'You are joking, sir,' exclaimed Berthold, 'and without reason. Such accidental circumstances are by no means so contemptible as you imagine, and for that very reason my master loves to employ them. Only recollect the suspended white cloth in the landscape of one of the Dutch painters, that could not be omitted without marring the general effect. You, however, seem to be no friend to landscape painting in general; and, as I have given myself up to it with heart and soul, I beg of you to let me go on working in quiet.'

"'You are much mistaken, young man,' said the Maltese. 'I tell you again that a good deal might be made of you, for your works visibly prove an unwearied endeavour to attain the highest; but that, unfortunately, you will never attain, since the path that you have taken does not lead to it. Only mark what I tell you. Perhaps I may succeed in kindling that flame in your soul, which you, senseless as you are, are endeavouring to smother, and in making it flash up brightly, so as to enlighten you. Then you will be able to recognise the real spirit that animates you. Do you think I am so foolish as to place the landscape lower in rank than the historical painting, and that I do not recognise the common goal after which the painters of both classes should strive? The apprehension of nature in the deepest import of that higher sense, which kindles all beings to a higher life, that is the sacred end of all art. Can the mere dim copying of nature lead to this? How poor, how stiff and forced, is the appearance of a manuscript copied from another in some foreign language, which the copyist does not understand, and is, therefore, unable to give the strokes, which he laboriously imitates, their proper significance. Thus your master's landscapes are correct copies of an original author in a language which is strange to him. The initiated artist hears the voice of nature, which from trees, hedges, flowers, mountains, and waters, speaks to him, and of unfathomable mysteries in wondrous sounds, which form themselves in his bosom to a pious feeling of foreboding; then, as a divine spirit, the talent itself of transferring this dim feeling to his works, descends upon him. Have not you yourself, young man, felt strangely affected when looking at the landscapes of the old masters? Assuredly you did not think