The Serapion Brethren, Vol. I.

by E. T. A. Hoffmann

"'My father,' said the lad, 'is an artist whom there are not many like, and you would not regret it if he were to allow you to come and see his works.'

"The old man had taken a few steps through the hall, which was then empty; and he called to the lad to come away. But Traugott boldly asked him to show him his pictures. The old man scanned him long, with keen, penetrating eyes, and finally said, very seriously:

"'You are somewhat presumptuous, truly, in that you would penetrate into the holy of holies before your apprenticeship is well begun. However, be it so! if your eyes are too feeble to see as yet, you may to some extent surmise. Come to me early to-morrow.'

"He explained where he lived, and Traugott got away from his work as soon as possible the next morning, and hastened to the out-of-the-way street where the old man was to be found. The lad, dressed in antique German costume, opened the door, and took him into a spacious room, where the old man was sitting on a little stool before a large canvas, all covered with a grey ground-tint.

"'You are come at a fortunate time, sir,' cried the old man, 'for I have just this moment put the finishing touches to this great picture, upon which I have been engaged for more than a year, and which has cost me no small pains! It is the companion picture to another of the same size, representing "Paradise Lost," which I finished last year, and which you will see here also. This one, as you see, is "Paradise Regained," and I should pity you if you were to try to discover any hidden allegory in it. It is only weaklings and bunglers who paint allegorical pictures. This picture of mine does not suggest; it is! You observe that all these rich groupings of men, animals, flowers and jewels form one harmonious whole, whose loud, glorious music is a pure, heavenly harmony of eternal glorification and ecstasy.'

"Then he began to point out, and give prominence to particular groups. He drew Traugott's attention to the mysteries of the disposition of the light and shade; to the lustre and sparkle of the flowers and gems; to the wonderful forms which, rising out of the bells of lilies, grouped themselves into bands of beautiful maidens and youths; to the bearded men who, with youthful vigour in their looks and motions, seemed to be conversing with curious animals. He spoke louder and louder, more and more vehemently and incoherently.

"'Let thy diamond crown sparkle, thou mighty sage!' he cried, with gleaming eyes riveted on the empty canvas. 'Throw off the Isis-veil which thou hast cast over thy head at the approach of the uninitiate! Why dost thou wrap that dark mantle so carefully over thy breast? I must see thy heart! It is the philosopher's stone, which discloses all secrets. Art thou not me? What meanest thou by confronting me with such audacity? Wilt thou do battle with thy master? Dost thou think that gleaming ruby there, which is thy heart, can grind my breast to dust? Come on, then! come forth! come here! I am he that made thee, for I am----'

"Here the old man fell to the ground in a heap, as if struck by a lightning flash. Traugott raised him up; the lad brought an easy-chair, in which they placed the old man, who now seemed to be lying in a quiet sleep.

"'You now know my dear old father's condition, sir,' said the lad softly, in a low voice. 'A cruel fate has stripped all the flowers away from his life; for many years he has been dead to the art, which was his life formerly. He sits for entire days before a canvas, stretched and grounded as you see that one. This he calls "painting," and you have seen the condition of excitement which the description of one of his so-called pictures produces in him. Besides this, he is tormented by another most unfortunate idea, which makes my life a very sad and unhappy one. But this I look upon as a blow of destiny which carries me away in the same sweep with which it has come over him. If you would like to recover a little from the impression of this strange scene, come with me into the next room, where you will see several pictures painted in my father's earlier, fruitful days.'

"How astonished was Traugott to see a number of works which might have been by the most celebrated painters of the Dutch School! They were generally scenes from life; for instance, a company of people coming back from the chase, singing, and playing on instruments, and the like. They were full of deep meaning; and the heads, particularly, had a wonderful expression of life and vigour. As Traugott was going back to the other room, he noticed a picture close to the door, before which he paused as if spell-bound. It was a portrait of a most beautiful girl, in ancient German dress, but the face was exactly that of the lad, only rounder and with more colour; and the figure seemed to be on a fuller scale. A thrill of nameless delight went through Traugott at the sight of this beautiful lady. In power and vigour the picture was quite equal to a Vandyke. The dark eyes gazed down on Traugott with a might of love-appeal; the sweet lips, half-parted, seemed to be whispering words of affection.