The Serapion Brethren, Vol. II

by E. T. A. Hoffmann

A NOVELLA.

The renowned painter, Salvator Rosa, comes to Rome, and is attacked by a dangerous malady.--What happened to him during this malady.

People of renown generally have much evil spoken of them, whether truthfully or otherwise, and this was the case with the doughty painter Salvator Rosa, whose vivid, living pictures you, dear reader, have certainly never looked upon without a most special and heartfelt enjoyment.

When his fame had pervaded and resounded through Rome, Naples, Tuscany, nay, all Italy; when other painters, if they would please, were obliged to imitate his peculiar style--just then, malignant men, envious of him, invented all sorts of wicked reports concerning him, with the view of casting foul spots of shadow upon the shining auriole of his artistic fame. Salvator, they said, had, at an earlier time of his life, belonged to a band of robbers, and it was to his experiences at that time that he was indebted for all the wild, gloomy, strangely-attired figures which he introduced into his pictures, just as he copied into his landscape those darksome deserts, compounded of lonesomeness, mystery, and terror--the Selve Selvagge of Dante--where he had been driven to lurk. The worst accusation brought against him was that he had been involved in that terrible, bloody conspiracy which "Mas' Aniello" of evil fame had set afoot in Naples. People told all about that, with the minutest details.

Aniello Falcone, the battle-painter (as he was called), blazed up in fury and bloodthirsty revenge when the Spanish soldiers killed one of his relations in a skirmish. On the spot he collected together a crowd of desperate and foolhardy young men, principally painters, provided them with arms, and styled them "the death-company"; and, in verity, this band spread abroad a full measure of the terror and alarm which its name indicated. Those young men pervaded Naples, in troop form, all day long, killing every Spaniard they came across. More than this, they stormed their way into all the sacred places of sanctuary, and there, without compunction, murdered their wretched enemies who had taken refuge there, driven by fear of death. At night they betook themselves to their chief, the mad, bloodthirsty Mas' Aniello, and they painted pictures of him by torchlight, so that in a short time hundreds of those pictures of him were spread about Naples and the surrounding neighbourhood.

Now it was said that Salvator Rosa had been a member of this band, robbing and murdering all day, but painting with equal assiduity all night. What a celebrated art-critic--Taillasson, I think--said of our master is true: "His works bear the impress of a wild haughtiness and arrogance, of a bizarre energy, of the ideas and of their execution. Nature displays herself to him not in the lovely peacefulness of green meadows, flowery fields, perfumed groves, murmuring streams, but in the awfulness of mighty up-towering cliffs, or sea-coasts, and wild, inhospitable forests; the voice to which he listens is not the whispering of the evening breeze, or the rustling of the leaves, but the roar of the hurricane, the thunder of the cataract. When we look at his deserts and the people of strange, wild appearance, who, sometimes singly, sometimes in troops, prowl about them, the weirdest fancies come to us of their own accord. Here there happened a terrible murder, there the bleeding corpse was thrown hurriedly over the cliff, &c., &c."

Now this may all be the case, and although Taillasson may not be far wrong when he says that Salvator's "Plato," and even his "St. John in the Wilderness announcing the Birth of the Saviour," look just the least little bit like brigands, still it is unfair to base any conclusions drawn from the works upon the painter himself, and to suppose that, though he represents the wild and the terrible in such perfection, he must have been a wild and terrible person himself. He who talks most of the sword often wields it the worst; he who so feels in his heart the terror of bloody deeds that he is able to call them into existence with palette, pencil or pen, may be the least capable of practising them. Enough! of all the wicked calumnies which would represent the doughty Salvator to have been a remorseless robber and murderer, I do not believe a single word, and I hope you, dear reader, maybe of the same opinion, or I should have to cherish a certain amount of doubt whether you would quite believe what I am going to tell you about him.

For--as I hope--my Salvator will appear to you as a man burning and coruscating with life and fire, but also endowed with the most charming and delightful nature, and often capable of controlling that bitter irony which--in him, as in all men of depth of character--takes form of itself from observation of life. Moreover, it is known that Salvator was as good a poet and musician as a painter, his inward genius displaying itself in rays thrown in various directions. I repeat that I have no belief in his having had anything to do with the crimes of Mas' Aniello; I rather hold to the opinion that he was driven from Naples to Rome by the terror of the time, and arrived there as a fugitive at the very time of Mas' Aniello's fall.

There was nothing very remarkable about his dress, and, with a little purse containing a few zecchini in his pocket, he slipped in at the gate just as night was falling. Without exactly knowing how, he came to the Piazza Navoni, where, in happier days, he had formerly lived in a fine house close to the Palazzo Pamphili. Looking up at the great shining windows, glittering and sparkling in the moonbeams, he cried, with some humour, "Ha! it will cost many a canvass ere I can establish my studio there again." Just as he said so he suddenly felt as if paralysed in all his limbs, and, at the same time, feeble and powerless in a manner which he had never before experienced in all his life. As he sank down on the stone steps of the portico of the house he murmured between his teeth, "Shall I ever want canvasses? It seems to me that I have done with them."

A cold, cutting night-wind was blowing through the streets; Salvator felt he must try and get a shelter. He rose with difficulty, tottered painfully forward, reached the Corso, and turned into Strada Vergognona. There he stopped before a small house, only two windows wide, where lived a widow with two daughters. They had taken him as a lodger for a small sum when first he came to Rome, known and cared for by nobody, and he hoped he would find a lodging with them now suited to his reduced circumstances.