Page:The four horsemen of the Apocalypse - (Los cuatro jinetes de Apocalipsis) (IA cu31924014386738).djvu/126

 Argensola, a very learned young Spaniard, believing that his counsels might prove most helpful to Julio. She did not know exactly whether this new companion was friend, master or servant. The studio habitués also had their doubts. The literary ones always spoke of Argensola as a painter. The painters recognized only his ability as a man of letters. He was among those who used to come up to the studio of winter afternoons, attracted by the ruddy glow of the stove and the wines secretly provided by the mother, holding forth authoritatively before the often-renewed bottle and the box of cigars lying open on the table. One night, he slept on the divan, as he had no regular quarters. After that first night, he lived entirely in the studio.

Julio soon discovered in him an admirable reflex of his own personality. He knew that Argensola had come third-class from Madrid with twenty francs in his pocket, in order to "capture glory," to use his own words. Upon observing that the Spaniard was painting with as much difficulty as himself, with the same wooden and childish strokes, which are so characteristic of the make-believe artists and pot-boilers, the routine workers concerned themselves with color and other rank fads. Argensola was a psychological artist, a painter of souls. And his disciple felt astonished and almost displeased on learning what a comparatively simple thing it was to paint a soul. Upon a bloodless countenance, with a chin as sharp as a dagger, the gifted Spaniard would trace a pair of nearly round eyes, and at the centre of each pupil he would aim a white brush stroke, a point of light … the soul. Then, planting himself before the canvas, he would proceed to classify this soul with his inexhaustible imagination, attributing to it almost every kind of stress and extremity. So great was the sway of his rapture that Julio, too, was able to see all that the artist flattered himself into