Arachne — Complete

CHAPTER I.

While the market place in Tennis was filling, Archias’s white house had become a heap of smouldering ruins. Hundreds of men and women were standing around the scene of the conflagration, but no one saw the statue of Demeter, which had been removed from Hermon’s studio just in time. The nomarch had had it locked up in the neighbouring temple of the goddess.

It was rumoured that the divinity had saved her own statue by a miracle; Pamaut, the police officer, said that he had seen her himself as, surrounded by a brilliant light, she soared upward on the smoke that poured from the burning house. The strategist and the nomarch used every means in their power to capture the robbers, but without the least success.

As it had become known that Paseth, Gula’s husband, had cast off his wife because she had gone to Hermon’s studio, the magistrates believed that the attack had been made by the Biamites; yet Paseth was absent from the city during the assault, and the innocence of the others could also be proved.

Since, for two entire years, piracy had entirely ceased in this neighbourhood, no one thought of corsairs, and the bodies of the incendiaries having been consumed by the flames with the white house, it could not be ascertained to what class the marauders belonged.

The blinded sculptor could only testify that one of the robbers was a negro, or at any rate had had his face blackened, and that the size of another had appeared to him almost superhuman. This circumstance gave rise to the fable that, during the terrible storm of the previous clay, Hades had opened and spirits of darkness had rushed into the studio of the Greek betrayer.

The strategist, it is true, did not believe such tales, but the superstition of the Biamites, who, moreover, aided the Greeks reluctantly to punish a crime which threatened to involve their own countrymen, put obstacles in the way of his measures.

Not until he heard of Ledscha’s disappearance, and was informed by the priest of Nemesis of the handsome sum which had been found in the offering box of the temple shortly after the attack, did he arrive at a conjecture not very far from the real state of affairs; only it was still incomprehensible to him what body of men could have placed themselves at the disposal of a girl’s vengeful plan.

On the second day after the fire, the epistrategus of the whole Delta, who had accidentally come to the border fortress, arrived at Tennis on the galley of the commandant of Pelusium, and with him Proclus, the grammateus of the Dionysian artists, the Lady Thyone, Daphne, and her companion Chrysilla.

The old hero Philippus was detained in the fortress by the preparations for war.

Althea had returned to Alexandria, and Philotas, who disliked her, had gone there himself, as Chrysilla intimated to him that he could hope for no success in his suit to her ward so long as Daphne had to devote herself to the care of the blinded Hermon.

The epistrategus proceeded with great caution, but his efforts also remained futile. He ordered a report to be made of all the vessels which had entered the harbours and bays of the northeastern Delta, but those commanded by Satabus and his sons gave no cause for investigation; they had come into the Tanite arm of the Nile as lumber ships from Pontus, and had discharged beams and planks for the account of a well-known commercial house in Sinope.

Yet the official ordered the Owl’s Nest to be searched. In doing this he made himself guilty of an act of violence, as the island’s right of asylum still existed, and this incensed the irritable and refractory Biamites the more violently, the deeper was the reverent awe with which the nation regarded Tabus, who, according to their belief, was over a hundred years old. The Biamites honoured her not only as an enchantress and a leech, but as the ancestress of a race of mighty men. By molesting this aged woman, and interfering with an ancient privilege, the epistrategus lost the aid of the hostile fishermen, sailors, and weavers. Any information from their ranks to him was regarded as treachery; and, besides, his stay in Tennis could be but brief, as the King, on account of the impending war, had summoned him back to the capital.

On the third day after his arrival he left Tennis and sailed from Tanis for Alexandria. He had had little time to attend to Thyone and her guests.

Proclus, too, could not devote himself to them until after the departure of the epistrategus, since he had gone immediately to Tanis, where, as head of the Dionysian artists of all Egypt, he had been occupied in attending to the affairs of the newly established theatre.

On his return to Tennis he had instantly requested to be conducted to the Temple of Demeter, to inspect the blinded Hermon’s rescued work.

He had entered the cella of the sanctuary with the expectation of finding a peculiar, probably a powerful work, but one repugnant to his taste, and left it fairly overpowered by the beauty of this noble work of art.

What he had formerly seen of Hermon’s productions had prejudiced him against the artist, whose talent was great, but who, instead of dedicating it to the service of the beautiful and the sublime, chose subjects which, to Proclus, did not seem worthy of artistic treatment, or, when they were, sedulously deprived them of that by which, in his eyes, they gained genuine value. In Hermon’s Olympian Banquet he—who also held the office of a high priest of Apollo in Alexandria—had even seen an insult to the dignity of the deity. In the Street Boy Eating Figs, the connoisseur’s eye had recognised a peculiar masterpiece, but he had been repelled by this also; for, instead of a handsome boy, it represented a starving, emaciated vagabond.

True to life as this figure might be, it seemed to him reprehensible, for it had already induced others to choose similar vulgar subjects.

When recently at Althea’s performance he had met Hermon and saw how quickly his beautiful travelling companion allowed herself to be induced to bestow the wreath on the handsome, black-bearded fellow, it vexed him, and he had therefore treated him with distant coldness, and allowed him to perceive the disapproval which the direction taken by his art had awakened in his mind.

In the presence of Hermon’s Demeter, the opinion of the experienced man and intelligent connoisseur had suddenly changed.

The creator of this work was not only one of the foremost artists of his day, nay, he had also been permitted to fathom the nature of the deity and to bestow upon it a perfect form.

This Demeter was the most successful personification of the divine goodness which rewards the sowing of seed with the harvest. When Hermon created it, Daphne’s image had hovered before his mind, even if he had not been permitted to use her as a model, and of all the maidens whom he knew there was scarcely one better suited to serve as the type for the Demeter.

So what he had seen in Pelusium, and learned from women, was true. The heart and mind of the artist who had created this work were not filled with the image of Althea—who during the journey had bestowed many a mark of favour upon the aging man, and with whom he was obliged to work hand in hand for Queen Arsinoe’s plans—but the daughter of Archias, and this circumstance also aided in producing his change of view.

Hermon’s blindness, it was to be hoped, would be cured.

Duty, and perhaps also interest, commanded him to show him frankly how highly he estimated his art and his last work.

After the arrival of Thyone and Daphne, Hermon had consented to accompany them on board the Proserpina, their spacious galley. True, he had yielded reluctantly to this arrangement of his parents’ old friend, and neither she nor Daphne had hitherto succeeded in soothing the fierce resentment against fate which filled his soul after the loss of his sight and his dearest friend. As yet every attempt to induce him to bear his terrible misfortune with even a certain degree of composure had failed.

The Tennis leech, trained by the Egyptian priests at Sais in the art of healing, who was attached as a pastophorus to the Temple of Isis, in the city of weavers, had covered the artist’s scorched face with bandages, and earnestly adjured him never in his absence to raise them, and to keep every ray of light from his blinded eyes. But the agitation which had mastered Hermon’s whole being was so great that, in spite of the woman’s protestations, he lifted the covering again and again to see whether he could not perceive once more at least a glimmer of the sunlight whose warming power he felt. The thought of living in darkness until the end of his life seemed unendurable, especially as now all the horrors which, hitherto, had only visited him in times of trial during the night assailed him with never-ceasing cruelty.

The image of the spider often forced itself upon him, and he fancied that the busy insect was spreading its quickly made web over his blinded eyes, which he was not to touch, yet over which he passed his hand to free them from the repulsive veil.

The myth related that because Athene’s blow had struck the ambitious weaver Arachne, she had resolved, before the goddess transformed her into a spider, to put an end to her disgrace.

How infinitely harder was the one dealt to him! How much better reason he had to use the privilege in which man possesses an advantage over the immortals, of putting himself to death with his own hand when he deems the fitting time has come! What should he, the artist, to whom his eyes brought whatever made life valuable, do longer in this hideous black night, brightened by no sunbeam?

He was often overwhelmed, too, by the remembrance of the terrible end of the friend in whom he saw the only person who might have given him consolation in this distress, and the painful thought of his poverty.

He was supported solely by what his art brought and his wealthy uncle allowed him. The Demeter which Archias had ordered had been partially paid for in advance, and he had intended to use the gold—a considerable sum—to pay debts in Alexandria. But it was consumed with the rest of his property—tools, clothing, mementoes of his dead parents, and a few books which contained his favourite poems and the writings of his master, Straton.

These precious rolls had aided him to maintain the proud conviction of owing everything which he attained or possessed solely to himself. It had again become perfectly clear to him that the destiny of earth-born mortals was not directed by the gods whom men had invented after their own likeness, in order to find causes for the effects which they perceived, but by deaf and blind chance. Else how could even worse misfortune, according to the opinion of most people, have befallen the pure, guiltless Myrtilus, who so deeply revered the Olympians and understood how to honour them so magnificently by his art, than himself, the despiser of the gods?

But was the death for which he longed a misfortune?

Was the Nemesis who had so swiftly and fully granted the fervent prayer of an ill-used girl also only an image conjured up by the power of human imagination?

It was scarcely possible!

Yet if there was one goddess, did not that admit the probability of the existence of all the others?

He shuddered at the idea; for if the immortals thought, felt, acted, how terribly his already cruel fate would still develop! He had denied and insulted almost all the Olympians, and not even stirred a finger to the praise and honour of a single one.

What marvel if they should choose him for the target of their resentment and revenge?

He had just believed that the heaviest misfortune which can befall a man and an artist had already stricken him. Now he felt that this, too, had been an error; for, like a physical pain, he realized the collapse of the proud delusion of being independent of every power except himself, freely and arbitrarily controlling his own destiny, owing no gratitude except to his own might, and being compelled to yield to nothing save the enigmatical, pitiless power of eternal laws or their co-operation, so incomprehensible to the human intellect, called “chance,” which took no heed of merit or unworthiness.

Must he, who had learned to silence and to starve every covetous desire, in order to require no gifts from his own uncle and his wealthy kinsman and friend, and be able to continue to hold his head high, as the most independent of the independent, now, in addition to all his other woe, be forced to believe in powers that exercised an influence over his every act? Must he recognise praying to them and thanking them as the demand of justice, of duty, and wisdom? Was this possible either?

And, believing himself alone, since he could not see Thyone and Daphne, who were close by him, he struck his scorched brow with his clinched fist, because he felt like a free man who suddenly realizes that a rope which he can not break is bound around his hands and feet, and a giant pulls and loosens it at his pleasure.

Yet no! Better die than become for gods and men a puppet that obeys every jerk of visible and invisible hands.

Starting up in violent excitement, he tore the bandage from his face and eyes, declaring, as Thyone seriously reprimanded him, that he would go away, no matter where, and earn his daily bread at the handmill, like the blind Ethiopian slave whom he had seen in the cabinetmaker’s house at Tennis.

Then Daphne spoke to him tenderly, but her soothing voice caused him keener pain than his old friend’s stern one.

To sit still longer seemed unendurable, and, with the intention of regaining his lost composure by pacing to and fro, he began to walk; but at the first free step he struck against the little table in front of Thyone’s couch, and as it upset and the vessels containing water fell with it, clinking and breaking, he stopped and, as if utterly crushed, groped his way back, with both arms outstretched, to the armchair he had quitted.

If he could only have seen Daphne press her handkerchief first to her eyes, from which tears were streaming, and then to her lips, that he might not hear her sobs, if he could have perceived how Thyone’s wrinkled old face contracted as if she were swallowing a colocynth apple, while at the same time she patted his strong shoulder briskly, exclaiming with forced cheerfulness: “Go on, my boy! The steed rears when the hornet stings! Try again, if it only soothes you! We will take everything out of your way. You need not mind the water-jars. The potter will make new ones!”

Then Hermon threw back his burning head, rested it against the back of the chair, and did not stir until the bandage was renewed.

How comfortable it felt!

He knew, too, that he owed it to Daphne; the matron’s fingers could not be so slender and delicate, and he would have been more than glad to raise them to his lips and thank her; but he denied himself the pleasure.

If she really did love him, the bond between them must now be severed; for, even if her goodness of heart extended far enough to induce her to unite her blooming young existence to his crippled one, how could he have accepted the sacrifice without humiliating himself? Whether such a marriage would have made her happy or miserable he did not ask, but he was all the more keenly aware that if, in this condition, he became her husband, he would be the recipient of alms, and he would far rather, he mentally repeated, share the fate of the negro at the handmill.

The expression of his features revealed the current of his thoughts to Daphne, and, much as she wished to speak to him, she forced herself to remain silent, that the tones of her voice might not betray how deeply she was suffering with him; but he himself now longed for a kind word from her lips, and he had just asked if she was still there when Thyone announced a visit from the grammateus Proclus.

He had recently felt that this man was unfriendly to him, and again his anger burst forth. To be exposed in the midst of his misery to the scorn of a despiser of his art was too much for his exhausted patience.

But here he was interrupted by Proclus himself, who had entered the darkened cabin where the blind man remained very soon after Thyone.

Hermon’s last words had betrayed to the experienced courtier how well he remembered his unkind remarks, so he deferred the expression of his approval, and began by delivering the farewell message of the epistrategus, who had been summoned away so quickly.

He stated that his investigations had discovered nothing of importance, except, perhaps, the confirmation of the sorrowful apprehension that the admirable Myrtilus had been killed by the marauders. A carved stone had been found under the ashes, and Chello, the Tennis goldsmith, said he had had in his own workshop the gem set in the hapless artist’s shoulder clasp, and supplied it with a new pin.

While speaking, he took Hermon’s hand and gave him the stone, but the artist instantly used his finger tips to feel it.

Perhaps it really did belong to the clasp Myrtilus wore, for, although still unpractised in groping, he recognised that a human head was carved in relief upon the stone, and Mrytilus’s had been adorned with the likeness of the Epicurean.

The damaged little work of art, in the opinion of Proclus and Daphne, appeared to represent this philosopher, and at the thought that his friend had fallen a victim to the flames Hermon bowed his head and exerted all his strength of will in order not to betray by violent sobs how deeply this idea pierced his heart.

Thyone, shrugging her shoulders mournfully, pointed to the suffering artist. Proclus nodded significantly, and, moving nearer to Hermon, informed him that he had sought out his Demeter and found the statue uninjured. He was well aware that it would be presumptuous to offer consolation in so heavy an affliction, and after the loss of his dearest friend, yet perhaps Hermon would be glad to hear his assurance that he, whose judgment was certainly not unpractised, numbered his work among the most perfect which the sculptor’s art had created in recent years.

“I myself best know the value of this Demeter,” the sculptor broke in harshly. “Your praise is the bit of honey which is put into the mouth of the hurt child.”

“No, my friend,” Proclus protested with grave decision. “I should express no less warmly the ardent admiration with which this noble figure of the goddess fills me if you were well and still possessed your sight. You were right just now when you alluded to my aversion, or, let us say, lack of appreciation of the individuality of your art; but this noble work changes everything, and nothing affords me more pleasure than that I am to be the first to assure you how magnificently you have succeeded in this statue.”

“The first!” Hermon again interrupted harshly. “But the second and third will be lacking in Alexandria. What a pleasure it is to pour the gifts of sympathy upon one to whom we wish ill! But, however successful my Demeter may be, you would have awarded the prize twice over to the one by Myrtilus.”

“Wrong, my young friend!” the statesman protested with honest zeal. “All honour to the great dead, whose end was so lamentable; but in this contest—let me swear it by the goddess herself!—you would have remained victor; for, at the utmost, nothing can rank with the incomparable save a work of equal merit, and—I know life and art—two artists rarely or never succeed in producing anything so perfect as this masterpiece at the same time and in the same place.”

“Enough!” gasped Hermon, hoarse with excitement; but Proclus, with increasing animation, continued: “Brief as is our acquaintance, you have probably perceived that I do not belong to the class of flatterers, and in Alexandria it has hardly remained unknown to you that the younger artists number me, to whom the office of judge so often falls, among the sterner critics. Only because I desire their best good do I frankly point out their errors. The multitude provides the praise. It will soon flow upon you also in torrents, I can see its approach, and as this blindness, if the august Aesculapius and healing Isis aid, will pass away like a dreary winter night, it would seem to me criminal to deceive you about your own ability and success. I already behold you creating other works to the delight of gods and men; but this Demeter extorts boundless, enthusiastic appreciation; both as a whole, and in detail, it is faultless and worthy of the most ardent praise. Oh, how long it is, my dear, unfortunate friend, since I could congratulate any other Alexandrian with such joyful confidence upon the most magnificent success! Every word—you may believe it!—which comes to you in commendation of this last work from lips unused to eulogy is sincerely meant, and as I utter it to you I shall repeat it in the presence of the King, Archias, and the other judges.”

Daphne, with hurried breath, deeply flushed cheeks, and sparkling eyes, had fairly hung upon the lips of the clever connoisseur. She knew Proclus, and his dreaded, absolutely inconsiderate acuteness, and was aware that this praise expressed his deepest conviction. Had he been dissatisfied with the statue of Demeter, or even merely superficially touched by its beauty, he might have shrunk from wounding the unfortunate artist by censure, and remained silent; but only something grand, consummate, could lead him to such warmth of recognition.

She now felt it a misfortune that she and Thyone had hitherto been prevented, by anxiety for their patient, from admiring his work. Had it still been light, she would have gone to the temple of Demeter at once; but the sun had just set, and Proclus was obliged to beg her to have patience.

As the cases were standing finished at the cabinetmaker’s, the statue had been packed immediately, under his own direction, and carried on board his ship, which would convey it with him to the capital the next day.

While this arrangement called forth loud expressions of regret from Daphne and the vivacious matron, Hermon assented to it, for it would at least secure the ladies, until their arrival in Alexandria, from a painful disappointment.

“Rather,” Proclus protested with firm dissent, “it will rob you for some time of a great pleasure, and you, noble daughter of Archias, probably of the deepest emotion of gratitude with which the favour of the immortals has hitherto rendered you happy; yet the master who created this genuine goddess owes the best part of it to your own face.”

“He told me himself that he thought of me while at work,” Daphne admitted, and a flood of the warmest love reached Hermon’s ears in her agitated tones, while, greatly perplexed, he wondered with increasing anxiety whether the stern critic Proclus had really been serious in the extravagant eulogium, so alien to his reputation in the city.

Myrtilus, too, had admired the head of his Demeter, and—this he himself might admit—he had succeeded in it, and yet ought not the figure, with its too pronounced inclination forward, which, it is true, corresponded with Daphne’s usual bearing, and the somewhat angular bend of the arms, have induced this keen-sighted connoisseur to moderate the exalted strain of his praise? Or was the whole really so admirable that it would have seemed petty to find fault with the less successful details? At any rate, Proclus’s eulogy ought to give him twofold pleasure, because his art had formerly repelled him, and Hermon tried to let it produce this effect upon him. But it would not do; he was continually overpowered by the feeling that under the enthusiastic homage of the intriguing Queen Arsinoe’s favourite lurked a sting which he should some day feel. Or could Proclus have been persuaded by Thyone and Daphne to help them reconcile the hapless blind man to his hard fate?

Hermon’s every movement betrayed the great anxiety which filled his mind, and it by no means escaped Proclus’s attention, but he attributed it to the blinded sculptor’s anguish in being prevented, after so great a success, from pursuing his art further.

Sincerely touched, he laid his slender hand on the sufferer’s muscular arm, saying: “A more severe trial than yours, my young friend, can scarcely be imposed upon the artist who has just attained the highest goal, but three things warrant you to hope for recovery—your vigorous youth, the skill of our Alexandrian leeches, and the favour of the immortal gods. You shrug your shoulders? Yet I insist that you have won this favour by your Demeter. True, you owe it less to yourself than to yonder maiden. What pleasure it affords one whom, like myself, taste and office bind to the arts, to perceive such a revolution in an artist’s course of creation, and trace it to its source! I indulged myself in it and, if you will listen, I should like to show you the result.”

“Speak,” replied Hermon dully, bowing his head as if submitting to the inevitable, while Proclus began:

“Hitherto your art imitated, not without success, what your eyes showed you, and if this was filled with the warm breath of life, your work succeeded. All respect to your Boy Eating Figs, in whose presence you would feel the pleasure he himself enjoyed while consuming the sweet fruit. Here, among the works of Egyptian antiquity, there is imminent danger of falling under the tyranny of the canon of proportions which can be expressed in figures, or merely even the demands of the style hallowed by thousands of years, but in a subject like the ‘Fig-eater’ such a reproach is not to be feared. He speaks his own intelligible language, and whoever reproduces it without turning to the right or left has won, for he has created a work whose value every true friend of art, no matter to what school he belongs, prizes highly.

“To me personally such works of living reality are cordially welcome. Yet art neither can nor will be satisfied with snatches of what is close at hand; but you are late-born, sons of a time when the two great tendencies of art have nearly reached the limits of what is attainable to them. You were everywhere confronted with completed work, and you are right when you refuse to sink to mere imitators of earlier works, and therefore return to Nature, with which we Hellenes, and perhaps the Egyptians also, began. The latter forgot her; the former—we Greeks—continued to cling to her closely.”

“Some few,” Hermon eagerly interrupted the other, “still think it worth the trouble to take from her what she alone can bestow. They save themselves the toilsome search for the model which others so successfully used before them, and bronze and marble still keep wonderfully well. Bring out the old masterpieces. Take the head from this one, the arm from that, etc. The pupil impresses the proportions on his mind. Only so far as the longing for the beautiful permits do even the better ones remain faithful to Nature, not a finger’s breadth more.”

“Quite right,” the other went on calmly. “But your objection only brings one nearer the goal. How many who care only for applause content themselves to-day, unfortunately, with Nature at second hand! Without returning to her eternally fresh, inexhaustible spring, they draw from the conveniently accessible wells which the great ancients dug for them.”

“I know these many,” Hermon wrathfully exclaimed. “They are the brothers of the Homeric poets, who take verses from the Iliad and Odyssey to piece out from them their own pitiful poems.”

“Excellent, my son!” exclaimed Thyone, laughing, and Daphne remarked that the poet Cleon had surprised her father with such a poem a few weeks before. It was a marvellous bit of botchwork, and yet there was a certain meaning in the production, compiled solely from Homeric verses.

“Diomed’s Hecuba,” observed Proclus, “and the Aphrodite by Hippias, which were executed in marble, originated in the same way, and deserve no better fate, although they please the great multitude. But, praised be my lord, Apollo, our age can also boast of other artists. Filled with the spirit of the god, they are able to model truthfully and faithfully even the forms of the immortals invisible to the physical eye. They stand before the spectator as if borrowed from Nature, for their creators have filled them with their own healthy vigour. Our poor Myrtilus belonged to this class and, after your Demeter, the world will include you in it also.”

“And yet,” answered Hermon in a tone of dissent, “I remained faithful to myself, and put nothing, nothing at all of my own personality, into the forms borrowed from Nature.”

“What need of that was there?” asked Proclus with a subtle smile. “Your model spared you the task. And this at last brings me to the goal I desired to reach. As the great Athenians created types for eternity, so also does Nature at times in a happy hour, for her own pleasure, and such a model you found in our Daphne.-No contradiction, my dear young lady! The outlines of the figure—By the dog! Hermon might possibly have found forms no less beautiful in the Aphrosion, but how charming and lifelike is the somewhat unusual yet graceful pose of yours! And then the heart, the soul! In your companionship our artist had nothing to do except lovingly to share your feelings in order to have at his disposal everything which renders so dear to us all the giver of bread, the preserver of peace, the protector of marriage, the creator and supporter of the law of moderation in Nature, as well as in human existence. Where would all these traits be found more perfectly united in a single human being than in your person, Daphne, your quiet, kindly rule?”

“Oh, stop!” the girl entreated. “I am only too well aware—”

“That you also are not free from human frailties,” Proclus continued, undismayed. “We will take them, great or small as they may be, into the bargain. The secret ones do not concern the sculptor, who does not or will not see them. What he perceives in you, what you enable him to recognise through every feature of your sweet, tranquillizing face, is enough for the genuine artist to imagine the goddess; for the distinction between the mortal and the immortal is only the degree of perfection, and the human intellect and artist soul can find nothing more perfect in the whole domain of Demeter’s jurisdiction than is presented to them in your nature. Our friend yonder seized it, and his magnificent work of art proves how nearly it approaches the purest and loftiest conception we form of the goddess whom he had to represent. It is not that he deified you, Daphne; he merely bestowed on the divinity forms which he recognised in you.”

Just at that moment, obeying an uncontrollable impulse, Hermon pulled the bandage from his eyes to see once more the woman to whom this warm homage was paid.

Was the experienced connoisseur of art and the artist soul in the right?

He had told himself the same thing when he selected Daphne for a model, and her head reproduced what Proclus praised as the common possession of Daphne and Demeter. Truthful Myrtilus had also seen it. Perhaps his work had really been so marvellously successful because, while he was engaged upon it, his friend had constantly stood before his mind in all the charm of her inexhaustible goodness.

Animated by the ardent desire to gaze once more at the beloved face, to which he now owed also this unexpectedly great success, he turned toward the spot whence her voice had reached him; but a wall of violet mist, dotted with black specks, was all that his blinded eyes showed him, and with a low groan he drew the linen cloth over the burns.

This time Proclus also perceived what was passing in the poor artist’s mind, and when he took leave of him it was with the resolve to do his utmost to brighten with the stars of recognition and renown the dark night of suffering which enshrouded this highly gifted sculptor, whose unexpectedly great modesty had prepossessed him still more in his favour.