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Updated: June 5, 2025
Boys who know no more of human form, than they do of the eyes, nose, and mouth in the moon, begin painting portraits. If some of them would only throw away their palettes for a year, and learn to draw; if they would attend anatomical lectures, and take notes, not in words, but in forms, of joints and muscles, their exhibitions would soon cease to be so utterly below criticism.
The drawing of the hieroglyphic pictures was fine, and the colouring superb; and in that high cavern, far away from even the damp of the Nile-flood, all was as fresh as when the artists had laid down their palettes. There was one thing which we could not avoid seeing.
Shadows lurked in the corners, the ribs of the roof were faintly outlined; on the sombre walls gleams of color, faces of loveliness and faces of pain, studies all of a mood or a passion, bits of shining brass, reflections from lustred ware struggling out of obscurity; hangings from Fez or Tetuan, bits of embroidery, costumes in silk and in velvet, still having the aroma of balls a hundred years ago, the faint perfume of a scented society of ladies and gallants; a skeleton scarcely less fantastic than the draped wooden model near it; heavy rugs of Daghestan and Persia, making the footfalls soundless on the floor; a fountain tinkling in a thicket of japonicas and azaleas; the stems of palmettoes, with their branches waving in the obscurity overhead; points of light here and there where a shaded lamp shone on a single red rose in a blue Granada vase on a toppling stand, or on a mass of jonquils in a barbarous pot of Chanak-Kallessi; tacked here and there on walls and hangings, colored memoranda of Capri and of the North Woods, the armor of knights, trophies of small-arms, crossed swords of the Union and the Confederacy, easels, paints, and palettes, and rows of canvases leaning against the wall-the studied litter, in short, of a successful artist, whose surroundings contribute to the popular conception of his genius.
When, twelve years earlier, Ingres' "Courtesan," and that of Sigalon, the "Medusa" of Gericault, the "Massacre of Scio" by Delacroix, the "Baptism of Henri IV." by Eugene Deveria, admitted by celebrated artists accused of jealousy, showed the world, in spite of the denials of criticism, that young and vigorous palettes existed, no such complaint was made.
A gray wall quadrangularly vaulted to a large north light; casts of feet, hands, faces hung to nails about; prints, sketches in oil and water-color stuck here and there lower down; a rickety table, with paint and palettes and bottles of varnish and siccative tossed comfortlessly on it; an easel, with a strip of some faded mediaeval silk trailing from it; a lay figure simpering in incomplete nakedness, with its head on one side, and a stocking on one leg, and a Japanese dress dropped before it; dusty rugs and skins kicking over the varnished floor; canvases faced to the mop-board; an open trunk overflowing with costumes: these features one might notice anywhere.
Near the easel was a small marble table covered with palettes, brushes, and crayons. When Therese retired to this boudoir, her maid was accustomed to keep watch lest she should be surprised by visitors. If any were announced, Therese came out of her boudoir, and, carefully closing the door, awaited her friends in the parlor.
The animate, living Shape of metal on which we stood, with its forest of hammer-handed arms raised menacingly along its mile of spindled length; the great walls glistening with the armored hosts; the terraces of that fair and ancient city, their gardens and green groves and clustering red and yellow-roofed houses and temples and palaces; the swinging gross body of Cherkis in the clutch of the unseen grip of the tentacle, his grizzled hair touching the side of the pyramid that held him, his arms half outstretched, the gemmed cloak flapping like the wings of a jeweled bat, his white, malignant face in which the evil eyes were burning slits flaming hell's own blackest hatred; and beyond the city, from which pulsed almost visibly a vast and hopeless horror, the watching column and over all this the palely radiant white sky under whose light the encircling cliffs were tremendous stony palettes splashed with a hundred pigments.
Shadows lurked in the corners, the ribs of the roof were faintly outlined; on the sombre walls gleams of color, faces of loveliness and faces of pain, studies all of a mood or a passion, bits of shining brass, reflections from lustred ware struggling out of obscurity; hangings from Fez or Tetuan, bits of embroidery, costumes in silk and in velvet, still having the aroma of balls a hundred years ago, the faint perfume of a scented society of ladies and gallants; a skeleton scarcely less fantastic than the draped wooden model near it; heavy rugs of Daghestan and Persia, making the footfalls soundless on the floor; a fountain tinkling in a thicket of japonicas and azaleas; the stems of palmettoes, with their branches waving in the obscurity overhead; points of light here and there where a shaded lamp shone on a single red rose in a blue Granada vase on a toppling stand, or on a mass of jonquils in a barbarous pot of Chanak-Kallessi; tacked here and there on walls and hangings, colored memoranda of Capri and of the North Woods, the armor of knights, trophies of small-arms, crossed swords of the Union and the Confederacy, easels, paints, and palettes, and rows of canvases leaning against the wall-the studied litter, in short, of a successful artist, whose surroundings contribute to the popular conception of his genius.
He scraped several palettes, scrubbed up some palette-knives, screwed the tops on a dozen tubes of colour, and fussed and messed about until there seemed to be nothing further to do. So he came back and seated himself, and, looking up, saw the big tears stealing from under her closed lids. He endured it as long as he could. Nothing was said.
With the body were also buried slate palettes for grinding the green eye-paint which the Egyptians loved even at this early period. These are often carved to suggest the forms of animals, such as birds, bats, tortoises, goats, etc.; on others are fantastic creatures with two heads. Combs of bone, too, are found, ornamented in a similar way with birds' or goats' heads, often double.
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