"No," said he to himself, "such a woman would be a constant strain, and would require one to be brilliant and intellectual all day long. She would exhaust one," said he, almost aloud.
No one knew what character Irma intended to appear in, although many supposed that it would be as Victoria, since it was well known that she stood for the model of the statue that surmounted the arsenal. They were busy conjecturing how she could assume that character, without violating the social proprieties.
Irma spent much of her time in the atelier and worked assiduously. She was unable to escape a feeling of unrest, far greater than that she had experienced years ago, when looking forward to her first ball. She could not reconcile herself to the idea of preparing for the fête, so long beforehand, and would like to have had it take place in the very next hour, so that something else might be taken up at once. The long delay tried her patience. She almost envied those beings to whom the preparation for pleasure affords the greatest part of the enjoyment. Work alone calmed her unrest. She had something to do, and this prevented the thoughts of the festival from engaging her mind during the day. It was only in the evenings that she would recompense herself for the day's work, by giving full swing to her fancy.
The statue of Victory was still in the atelier and was almost finished. High ladders were placed beside it. The artist was still chiseling at the figure and would, now and then, hurry down to observe the general effect and then hastily mount the ladder again in order to add a touch here or there. Irma scarcely ventured to look up at this effigy of herself in Grecian costume--transformed and yet herself. The idea of being thus translated into the purest of art's forms filled her with a tremor--half joy, half fear.
It was on a winter afternoon. Irma was working assiduously at a copy of a bust of Theseus, for it was growing dark.
Near her, stood her preceptor's marble bust of Doctor Gunther. All was silent; not a sound was heard save, now and then, the picking or scratching of the chisel. At that moment, the master descended the ladder and, drawing a deep breath, said:
"There--that will do. One can never finish. I shall not put another stroke to it. I am afraid that retouching would only injure it. It is done."
In the master's words and manner, struggling effort and calm content seem mingled. He laid the chisel aside. Irma looked at him earnestly and said:
"You are a happy man; but I can imagine that you are still unsatisfied. I don't believe that even Raphael or Michael Angelo were ever satisfied with the work they had completed. The remnant of dissatisfaction which an artist feels at the completion of a work, is the germ of a new creation."
The master nodded his approval of her words. His eyes expressed his thanks. He went to the hydrant and washed his hands. Then he placed himself near Irma and looked at her, while telling her that, in every work, an artist parts with a portion of his life; that the figure, will never again inspire the same feelings that it did while in the workshop. Viewed from afar, and serving as an ornament, no regard would be had to the care bestowed upon details. But the artist's great satisfaction in his work is in having pleased himself; and yet no one can accurately determine how, or to what extent, a conscientious working up of details will influence the general effect.