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Updated: June 19, 2025
Coello received him very courteously; but as neither he nor any in his ship could speak their language, the governor soon retired. Coello gave him, however, a red cap, on which he seemed to set little value, and presented him likewise with some black beads, which he carried away in his hand, both being given and received in token of friendship.
At last Coello came to him and after greeting him, first formally, then cordially, and enquiring about his health and experiences, he shrugged his shoulders, saying: "My wife does not wish you to see Isabella again before the trial. You must show what you can do, of course; but I. . . . you look well and apparently have collected reales.
He was determined, by summoning all his powers, to create a masterpiece. What Titian had approved must satisfy a Coello! so he began the task. A strong impulse urged him to sketch boldly and without long consideration, the picture of the Madonna, as it had once lived in his soul, but he restrained himself, repeating the warning words which had so often been dinned into his ears: Draw, draw!
Then comes the great invader Velazquez, followed by his retainers Pareja and Carreno, and absorbs the whole life of the school. Claudio Coello makes a good fight against the rapid decadence. Luca Giordano comes rattling in from Naples with his whitewash-brush, painting a mile a minute, and classic art is ended in Spain with the brief and conscientious work of Raphael Mengs.
Sanchez Coello rarely appeared in the studio, for he had gone to study with the architect, Herrera; Isabella vied with Ulrich, but was speedily outstripped by the German. It seemed as if he had been born with the power to use the brush, and the young girl watched his progress with unfeigned pleasure.
Drawing, perpetual drawing, became burdensome, repulsive, hateful; but with palette and brush in his hand he could not fail to become an artist, perhaps an artist like Titian. He already used colors in secret; Sanchez Coello had been the cause of his making the first trial. This precocious youth was suing for a fair girl's favor, and made Ulrich his confidant.
Only it was vexatious that he found it so hard to make himself intelligible to people, but this too was soon to be remedied, for the pupil obtained two companions. Alonzo Sanchez Coello, a very distinguished Spanish artist, had his studio in the upper story of the treasury. The king was very friendly to him, and often took him also on his excursions.
Ulrich was forced to acknowledge this, and continued to paint on the scaffold, but his pleasure in creating was spoiled. He thought of nothing but Italy. Every hour in Madrid seemed lost. His lofty purposes were unsettled, and he began to seek diversion for his mind, especially at the fencing-school with Sanchez Coello.
Giordano at once accepted the challenge, and in little more than three hours, produced a work which not only amazed and delighted the royal judge, but confounded poor Coello. "Look you, man," said the King to the discomfited Spaniard, and pointing to Luca Fa-presto, "there stands the best painter in Naples, Spain, and the whole world; verily, he is a painter for a King."
"What other can disclose, even on earth, such a glimpse of the joys of Paradise." When he left Sophonisba, he felt as if he were intoxicated. What still detained him in Madrid? Moor's zechins were not yet exhausted, and he was sure of the assistance of the "word" upon the sacred soil of Italy. He unfolded his plan to Coello without delay, at first modestly, then firmly and defiantly.
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