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r to move nor change her position。 i feel as if there were no air between that arm and the background； no space； no sense of distance in your canvas。 the perspective is perfectly correct； the strength of the coloring is accurately diminished with the distance； but； in spite of these praiseworthy efforts； i could never bring myself to believe that the warm breath of life es and goes in that beautiful body。 it seems to me that if i laid my hand on the firm； rounded throat； it would be cold as marble to the touch。 no； my friend； the blood does not flow beneath that ivory skin； the tide of life does not flush those delicate fibres； the purple veins that trace a network beneath the transparent amber of her brow and breast。 here the pulse seems to beat； there it is motionless； life and death are at strife in every detail； here you see a woman； there a statue； there again a corpse。 your creation is inplete。 you had only power to breathe a portion of your soul into your beloved work。 the fire of prometheus died out again and again in your hands； many a spot in your picture has not been touched by the divine flame。〃
〃but how is it； dear master？〃 porbus asked respectfully； while the young man with difficulty repressed his strong desire to beat the critic。
〃ah！〃 said the old man； 〃it is this！ you have halted between two manners。 you have hesitated between drawing and color； between the dogged attention to detail； the stiff precision of the german masters and the dazzling glow； the joyous exuberance of italian painters。 you have set yourself to imitate hans holbein and titian； albrecht durer and paul veronese in a single picture。 a magnificent ambition truly； but what has e of it？ your work has neither the severe charm of a dry execution nor the magical illusion of italian _chiaroscuro_。 titians rich golden coloring poured into albrecht dureras austere outlines has shattered them； like molten bronze bursting through the mold that is not strong enough to hold it。 in other places the outlines have held firm； imprisoning and obscuring the magnificent； glowing flood of venetian color。 the drawing of the face is not perfect； the coloring is not perfect； traces of that unlucky indecision are to be seen everywhere。 unless you felt strong enough to fuse the two opposed manners in the fire of your own genius； you should have cast in your lot boldly with the one or the other； and so have obtained the unity which simulates one of the conditions of life itself。 your work is only true in the centres； your outlines are false； they project nothing； there is no hint of anything behind them。 there is truth here；〃 said the old man； pointing to the breast of the saint； 〃and again here；〃 he went on； indicating the rounded shoulder。 〃but there；〃 once more returning to the column of the throat； 〃everything is false。 let us go no further into detail； you would be disheartened。〃
the old man sat down on a stool； and remained a while without speaking； with his face buried in his hands。
〃yet i studied that throat from the life； dear master；〃 porbus began； 〃it happens sometimes； for our misfortune； that real effects in nature look improbable when transferred to canvas〃
〃the aim of art is not to copy nature； but to express it。 you are not a servile copyist； but a poet！〃 cried the old man sharply； cutting porbus short with an imperious gesture。 〃otherwise a sculptor might make a plaster cast of a living woman and save himself all further trouble。 well； try to make a cast of your mistresss hand； and set up the thing before you。 you will see a monstrosity； a dead mass； bearing no resemblance to the living hand； you would be pelled to have recourse to the chisel of a sculptor who； without making an exact copy； would represent for you its movement and its life。 we must detect the spirit； the informing soul in the appearances of things and beings。 effects！ what are effects but the accidents of life； not life itself？ a hand； since i have taken that example； is not only a part of a body； it is the expression and extension of a thought that must be grasped and rendered。 neither painter nor poet nor sculptor may separate the effect from the cause； which are inevitably contained the one in the other。 there begins the real struggle！ many a painter achieves success instinctively； unconscious of the task that is set before art。 you draw a woman； yet you do not see her！ not so do you succeed in wresting natures secrets from her！ you are reproducing mechanically the model that you copied in your masters studio。 you do not penetrate far enough into the inmost secrets of the mystery of form； you do not seek with love enough and perseverance enough after the form that baffles and eludes you。 beauty is a thing severe and unapproachable； never to be won by a languid lover。 you must lie in wait for her ing and take her unawares； press her hard and clasp her in a tight embrace； and force her to yield。 form is a proteus more intangible and more manifold than the proteus of the legend； pelled； only after long wrestling； to stand forth manifest in his true aspect。 some of you are satisfied with the first shape； or at most by the second or the third that appears。 not thus wrestle the victors； the unvanquished painters who never suffer themselves to be deluded by all those treacherous shadow…shapes； they persevere till nature at the last stands bare to their gaze； and her very soul is revealed。
〃in this manner worked rafael；〃 said the old man； taking off his cap to express his reverence for the king of art。 〃his transcendent greatness came of the intimate sense that； in him； seems as if it would shatter external form。 form in his figures （as with us） is a symbol； a means of municating sensations； ideas； the vast imaginings of a poet。 every face is a whole world。 the subject of the portrait appeared for him bathed in the light of a divine vision； it was revealed by an inner voice； the finger of god laid bare the sources of expression in the past of a whole life。
〃you clothe your women in fair raiment of flesh； in gracious veiling of hair； but where is the blood； the source of passion and of calm； the cause of the particular effect？ why； this brown egyptian of yours； my good porbus； is a colorless creature！ these figures that you set before us are painted bloodless fantoms； and you call that painting； you call that art！
〃because you have made something more like a woman than a house； you think that you have set your fingers on the goal； you are quite proud that you need not to write _currus venustus_ or _pulcher homo_ beside your figures； as early painters were wont to do and you fancy that you have done wonders。 ah！ my good friend； there is still something more to learn； and you will use up a great deal of chalk and cover many a canvas before you will learn it。 yes； truly； a woman carries her head in just such a way； so she holds her garments gathered into her hand； her eyes grow dreamy and soft with that expression of meek sweetness； and even so the quivering shadow of the lashes hovers upon her cheeks。 it is all there； and yet it is not there。 what is lacking？ a nothing； but that nothing is everything。
〃there you have the semblance of life； but you do not express its fulness and effluence； that indescribable something； perhaps the soul itself； that envelopes the outlines of the body like a haze； that flower of life； in short； that titian and rafael caught。 your utmost achievement hitherto has only brought you to the starting…point。 you might now perhaps begin to do excellent work； but you grow weary all too soon； and the crowd admires； and those who know smile。
〃oh； mabuse！ oh； my master！〃 cried the strange speaker； 〃thou art a thief！ thou hast carried away the secret of life with thee！〃
〃nevertheless；〃 he began again； 〃this picture of yours is worth more than all the paintings of that rascal rubens； with his mountains of flemish flesh raddled with vermilion； his torrents of red hair； his riot of color。 you； at least have color there； and feeling and drawingthe three essentials in art。〃
the young man roused himself from his deep musings。
〃why； my good man； the saint is sublime！〃 he cried。 〃there is a subtlety of imagination about those two figures； the saint mary