With a view to improve the impression he had made, the painter led Antonio round the studio, and sought to fix his attention upon several portraits of lovely women which adorned it. "Here," said he, "are heads worthy to crown that striking figure in the gondola. Behold that all-surpassing portrait by Giorgione, of such beauty as painters and poets may dream of but never find, and yet not superhuman in its type. Too impassioned for an angel; too brilliant for a Madonna; and with too much of thought and character for a Venus—she is merely woman. Belonging to no special rank or class in society, and neither classical nor ideal, she personifies all that is most lovely in her sex; and, whether found in a palace or a cottage, would delight and astonish all beholders. This rarely gifted woman was the daughter of Palma Vecchio, and the beloved of Giorgione, one of the handsomest men of his time; but her sympathies were not for him, and he died of grief and despair in his prime. She was the favourite model of Titian and his school, and the type that more or less prevails in many celebrated pictures.
"How different and yet how beautiful of its kind, is that portrait of a Doge's daughter, by Paris Bordone! Less dazzling and luxuriant in her beauty than Palma's daughter, she is in all respects intensely aristocratic. In complexion not rich and glowing, but of a transparent and pearly lustre, through which the course of each blue vein is visible. In shape and features not full and beautifully rounded, but somewhat taller and of more delicate symmetry. In look and attitude not open, frank, and natural; but astute, refined, courteous, and winning to a degree attainable only by aristocratic training and the habits of high society. In apparel, neither national nor picturesque, but attired with studied elegance. Rich rows of pearls wind through her braided hair, in colour gold, in texture soft as silk. A band of gold forms the girdle of her ruby-coloured velvet robe, which descends to the wrist, and there reveals the small white hand and tapering fingers of patrician beauty. All this may captivate the fastidious noble; but, to men less artificial in their tastes and habits, could such a woman be better than a statue—and could love, the strongest of human passions, be ever more to her than a short-lived and amusing pastime?
"From these immortal portraits, my Antonio, you may learn that colour was the grand secret of the great Venetian painters. Their pale forms are never white, nor their blooming cheeks rose-colour, but the true colour of life—mellow, rich, and glowing; both men and women strictly true to nature, and looking as if they could turn pale with anger or blush with tender passion. From these great men can best be learned how much charm may be conveyed by colour, and what life and glow, what passion, grace, and beauty it gives to form.
"But I weary thee, Antonio; and after such excitement thou hast need of repose. To-morrow, let me see thee early."
The exhausted youth gladly departed from a scene of so much trial; and, hastening to his gondola, sought refreshment in an excursion to the Lido. Returning after nightfall, he landed on the Place of St Mark's, and wandered through its cool arcades until they were deserted. In vain, however, did he strive to banish the graceful form and grisly features of the stranger. The strong impression he had received became so vivid and absorbing, that at every turn he thought he saw her gazing at him as if in mockery, and lighting up the deep shadows beneath the arches with her glowing orbs, which seemed to his disordered fancy to emit sparks and flashes of fire. No longer able to resist the impulse, forgetting alike the paternal admonitions of the old painter, and the promises so sincerely given, he quitted the piazza and hastened to the palace of his father, the Proveditore Marcello, then absent on state affairs in the Levant.
Retiring to his own apartment, he fixed an easel with impetuous haste, and by lamplight again began to sketch the Medusa head of the old woman. Yielding himself up to this new frenzy, he succeeded beyond his hopes; a supernatural power seemed to guide his hand, and soon after midnight he had drawn to the life not only the appalling head, but the commanding and beautiful person, of the mysterious personage in the gondola. After gazing awhile upon his work with triumphant delight, he retired to bed; but slept not until long after sunrise, and then the extraordinary incidents of the past day haunted his feverish dreams. A female form, youthful and of surpassing beauty, hovered around his couch, but ever changing in appearance. At first her head was invisible and veiled in mist, from which, at intervals, flashed features of resplendent loveliness, and eyes of heavenly blue, which beamed upon him with thrilling tenderness; and then the mist dispersed, and the beauteous phantom stooped down to kiss his cheek, when suddenly her blooming face darkened and withered into the death-like visage of that fearful stranger, and her long bright hair was converted into hissing sepents. Starting with a scream of horror from his troubled and exhausting slumbers, he again sought refuge in his gondola, but returned, alas! to make his sketch into a picture, which the hues of life made still more hideous and repulsive. After several days thus occupied, he sketched in various attitudes the imposing figure of the old woman, and endeavoured to fit this beautiful Torso with a head not unworthy of it. But herein, after many attempts, he failed. His excitement, so long indulged, had risen into fever. His diseased fancy controlled his pencil, and blended with features of the highest order of beauty so many touches of the old woman's ghastly visage, that he threw down his pencil, and abandoned all further efforts in despair.
CHAPTER II.
THE CAVERN.
The shores of Austrian Dalmatia south of the port of Fiume, are of so rugged and dangerous a nature, that although broken into numerous creeks and bays, there are but few places where vessels, even of small dimensions, dare to approach them, or indeed where it is possible to effect a landing. A long experience of the coast, and of the adjacent labyrinth of islands which block up the gulf of Carnero, is necessary in order to accomplish in safety the navigation of the shallow rocky sea; and even when the mariner succeeds in setting foot on land, he not unfrequently finds his progress into the interior barred by precipices steep as walls, roaring torrents, and yawning ravines.