Short Fiction - Xavier de Maistre (the unexpected everything .txt) 📗

that the merits of the disciples of Painting and Music are therefore balanced. We see children play the harpsichord as if they were maestri, but no one has ever been a good painter at twelve years old. Painting, besides taste and feeling, requires an amount of thoughtfulness that musicians can dispense with. Any day may you hear men who are well nigh destitute of head and heart, bring out from a violin or harp the most ravishing sounds.

The human animal may be taught to play the harpsichord, and when it has learned of a good master, the soul can travel at her ease while sounds with which she does not concern herself are mechanically produced by the fingers. But the simplest thing in the world cannot be painted without the aid of all the faculties of the soul.

If, however, anyone should take it into his head to ply me with a distinction between the composition and the performance of music, I confess that he would give me some little difficulty. Ah, well! were all writers of essays quite candid they would all conclude as I am doing. When one enters upon the examination of a question, a dogmatic tone is generally assumed, because there has been a secret decision beforehand, just as I, notwithstanding my hypocritical impartiality, had decided in favor of painting. But discussion awakens objections, and everything ends with doubt.

XXVI

Now that I am more tranquil, I will endeavor to speak calmly of the two portraits that follow the picture of the shepherdess of the Alps.

Raphael! Who but thyself could paint thy portrait; who but thyself would have dared attempt it? Thy open countenance, beaming with feeling and intellect, proclaims thy character and thy genius.

To gratify thy shade, I have placed beside thee the portrait of thy mistress, whom the men of all generations will hold answerable for the loss of the sublime works of which art has been deprived by thy premature death.

When I examine the portrait of Raphael, I feel myself penetrated by an almost religious respect for that great man, who, in the flower of his age, excelled the ancients, and whose pictures are at once the admiration and the despair of modern artists. My soul, in admiring it, is moved with indignation against that Italian who preferred her love to her lover, and who extinguished at her bosom that heavenly flame, that divine genius.

Unhappy one! Knewest thou not that Raphael had announced a picture superior even to that of the Transfiguration? Didst thou not know that thine arms encircled the favorite of nature, the father of enthusiasm, a sublime genius⁠ ⁠… a divinity?

While my soul makes these observations, her companion, whose eyes are attentively fixed upon the lovely face of that fatal beauty, feels quite ready to forgive her the death of Raphael.

In vain my soul upbraids this extravagant weakness; she is not listened to at all. On such occasions a strange dialogue arises between the two, which terminates too often in favor of the bad principles, and of which I reserve a sample for another chapter.

And if, by the way, my soul had not at that moment abruptly closed the inspection of the gallery, if she had given the other time to contemplate the rounded and graceful features of the beautiful Roman lady, my intellect would have miserably lost its supremacy.

And if, at that critical moment I had suddenly obtained the favor bestowed upon the fortunate Pygmalion, without having the least spark of the genius which makes me pardon Raphael his errors, it is just possible that I should have succumbed as he did.

XXVII

My engravings, and the paintings of which I have spoken, fade away into nothing at the first glance bestowed upon the next picture. The immortal works of Raphael and Correggio, and of the whole Italian school, are not to be compared to it. Hence it is that when I accord to an amateur the pleasure of travelling with me, I always keep this until the last as a special luxury, and ever since I first exhibited this sublime picture to connoisseurs and to ignoramuses, to men of the world, to artists, to women, to children, to animals even, I have always found the spectators, whoever they might be, show, each in his own way, signs of pleasure and surprise, so admirably is nature rendered therein.

And what picture could be presented to you, gentlemen; what spectacle, ladies, could be placed before your eyes more certain of gaining your approval than the faithful portraiture of yourselves? The picture of which I speak is a mirror, and no one has as yet ventured to criticise it. It is to all who look on it a perfect picture, in depreciation of which not a word can be said.

You will at once admit that it should be regarded as one of the wonders of the world.

I will pass over in silence the pleasure felt by the natural philosopher in meditating upon the strange phenomena presented by light as it reproduces upon that polished surface all the objects of nature. A mirror offers to the sedentary traveller a thousand interesting reflections, a thousand observations which render it at once a useful and precious article.

Ye whom Love has held or still holds under his sway, learn that it is before a mirror that he sharpens his darts, and contemplates his cruelties. There it is that he plans his maneuvers, studies his tactics, and prepares himself for the war he wishes to declare. There he practices his killing glances and little affectations, and sly poutings, just as a player practices, with himself for spectator, before appearing in public.

A mirror, being always impartial and true, brings before the eyes of the beholder the roses of youth and the wrinkles of age, without calumny and without flattery. It alone among the councilors of the great, invariably tells them the truth.

It was this recommendation that made me desire the invention of a