In one corner stood a small bed with silk curtains—the nursery of the master’s pets. A magnificent white cat was suckling her kittens in it.
Two blue and yellow cockatoos and several parrots swung screaming in brass hoops before the open window, and Coello’s coal-black negro crept about, cleaning the floor of the spacious apartment, though it was already noon. While engaged in this occupation, he constantly shook his woolly head, displaying his teeth, for his master was singing loudly at his work, and the gaily-clad African loved music.
What a transformation bad taken place in the Netherlander’s quiet, orderly, scrupulously neat studio! But, even amid this confusion, admirable works were created; nay, the Spaniard possessed a much more vivid imagination, and painted pictures, containing a larger number of figures and far more spirited than Moor’s, though they certainly were not pervaded by the depth and earnestness, the marvellous fidelity to nature, that characterized those of Ulrich’s beloved master.
Coello called the youth to the easel, and pointing to the sketches in color, containing numerous figures, on which he was painting, said:
“Look here, my son. This is to be a battle of the Centaurs, these are Parthian horsemen;—Saint George and the Dragon, and the Crusaders are not yet finished. The king wants the Apocalyptic riders too. Deuce take it! But it must be done. I shall commence them to-morrow. They are intended for the walls and ceiling of the new winter riding-school. One person gets along slowly with all this stuff, and I—I.... The orders oppress me. If a man could only double, quadruple himself! Diana of Ephesus had many breasts, and Cerberus three heads, but only two hands have grown on my wrists. I need help, and you are just the person to give it. You have had nothing to do with horses yet, Isabella tells me; but you are half a Centaur yourself. Set to work on the steeds now, and when you have progressed far enough, you shall transfer these sketches to the ceiling and walls of the riding-school. I will help you perfect the thing, and give it the finishing touch.”
This invitation aroused more perplexity than pleasure in Ulrich’s mind, for it was not in accordance with Moor’s opinions. Fear of his fellow-men no longer restrained him, so he frankly said that he would rather sketch industriously from nature, and perhaps would do well to seek Moor in Flanders. Besides, he was afraid that Coello greatly overrated his powers.
But the Spaniard eagerly cut him short:
“I have seen your portrait of Sophonisba. You are no longer a pupil, but a rising artist. Moor is a peerless portrait-painter, and you have profited greatly by his teaching. But Art has still higher aims. Every living thing belongs to her. The Venus, the horse... which of those two pictures won Apelles the greater fame? Not only copying, but creating original ideas, leads to the pinnacle of art. Moor praised your vivid imagination. We must use what we possess. Remember Buonarotti, Raphael! Their compositions and frescos, have raised their names above all others. Antonio has tormented you sufficiently with drawing lifeless things. When you transfer these sketches, many times enlarged, to a broad surface, you will learn more than in years of copying plaster-casts. A man must have talent, courage and industry; everything else comes of its own accord, and thank Heaven, you’re a lucky fellow! Look at my horses—they are not so bad, yet I never sketched a living one in my life till I was commissioned to paint His Majesty on horseback. You shall have a better chance. Go to the stables and the old riding-school to-morrow. First try noble animals, then visit the market and shambles, and see how the knackers look. If you make good speed, you shall soon see the first ducats you yourself have earned.” The golden reward possessed little temptation for Ulrich, but he allowed himself to be persuaded by his senior, and drew and painted horses and mares with pleasure and success, working with Isabella and Coello’s pupil, Felice de Liano, when they sketched and painted from living models. When the scaffolding was erected in the winter riding-school, he went there under the court-artist’s direction, to measure, arrange and finally transfer the painter’s sketches to the wide surfaces.
He did this with increasing satisfaction, for though Coello’s sketches possessed a certain hardness, they were boldly devised and pleased him.
The farther he progressed, the more passionately interested he became in his work. To create on a grand scale delighted him, and the fully occupied life, as well as the slight fatigue after his work was done, which was sweetened by the joy of labor accomplished, were all beautiful, enjoyable things; yet Ulrich felt that this was not exactly the right course, that a steeper, more toilsome path must lead to the height he desired to attain.