第607章

We will conclude, then, that it is the beauty of woman which has always exercised an irresistible sway over me, and more especially that beauty which resides in the face. It is there the power lies, and so true is that, that the sphinxes of Rome and Versailles almost make me fall in love with them. though, the face excepted, they are deformed in every sense of the word. In looking at the fine proportions of their faces one forgets their deformed bodies. What, then, is beauty? We know not; and when we attempt to define it or to enumerate its qualities we become like Socrates, we hesitate. The only thing that our minds can seize is the effect produced by it, and that which charms, ravishes, and makes me in love, I call beauty. It is something that can be seen with the eyes, and for my eyes I speak.

If they had a voice they would speak better than I, but probably in the same sense.

No painter has surpassed Raphael in the beauty of the figures which his divine pencil produced; but if this great painter had been asked what beauty was, he would probably have replied that he could not say, that he knew it by heart, and that he thought he had reproduced it whenever he had seen it, but that he did not know in what it consisted.

"That face pleases me," he would say, "it is therefore beautiful!"

He ought to have thanked God for having given him such an exquisite eye for the beautiful; but 'omne pulchrum difficile'.

The painters of high renown, all those whose works proclaim genius, have excelled in the delineation of the beautiful; but how small is their number compared to the vast craved who have strained every nerve to depict beauty and have only left us mediocrity!

If a painter could be dispensed from making his works beautiful, every man might be an artist; for nothing is easier than to fashion ugliness, and brush and canvas would be as easy to handle as mortar and trowel.

Although portrait-painting is the most important branch of the art, it is to be noted that those who have succeeded in this line are very few. There are three kinds of portraits: ugly likenesses, perfect likenesses, and those which to a perfect likeness add an almost imperceptible character of beauty. The first class is worthy only of contempt and their authors of stoning, for to want of taste and talent they add impertinence, and yet never seem to see their failings. The second class cannot be denied to possess real merit;

but the palm belongs to the third, which, unfortunately, are seldom found, and whose authors deserve the large fortunes they amass. Such was the famous Notier, whom I knew in Paris in the year 1750. This great artist was then eighty, and in spite of his great age his talents seemed in all their freshness. He painted a plain woman; it was a speaking likeness, and in spite of that those who only saw the portrait pronounced her to be a handsome woman. Nevertheless, the most minute examination would not have revealed any faithlessness to the original, but some imperceptible touches gave a real but indefinite air of beauty to the whole. Whence does that magic art take its source? One day, when he had been painting the plain-

looking "Mesdames de France," who on the canvas looked like two Aspasias, I asked him the above question. He answered:--

"It is a magic which the god of taste distils from my brains through my brushes. It is the divinity of Beauty whom all the world adores, and which no one can define, since no one knows of what it consists.

That canvas shews you what a delicate shade there is between beauty and ugliness; and nevertheless this shade seems an enormous difference to those unacquainted with art."

The Greek painters made Venus, the goddess of beauty, squint-eyed, and this odd idea has been praised by some; but these painters were certainly in the wrong.

Two squinting eyes might be beautiful, but certainly not so beautiful as if they did not squint, for whatever beauty they had could not proceed from their deformity.

After this long digression, with which the reader may not be very well pleased, it is time for me to return to my sweetheart. The tenth day of my visit to Lausanne, I went to sup and sleep with my mistress, and that night was the happiest I remember. In the morning, while we were taking coffee with her mother, I observed that we seemed in no hurry to part. At this, the mother, a woman of few words, took up the discourse in a polite and dignified manner, and told me it was my duty to undeceive Lebel before I left; and at the same time she gave me a letter she had had from him the evening before. The worthy man begged her to remind me that if I could not make up my mind to separate from her daughter before I left Lausanne, it would be much more difficult for me to do so when I was farther off; above all, if, as would probably be the case, she gave me a living pledge of her love. He said that he had no thoughts of drawing back from his word, but he should wish to be able to say that he had taken his wife from her mother's hands.

When I had read the letter aloud, the worthy mother wept, and left us alone. A moment's silence ensued, and with a sigh that shewed what it cost her, my dear Dubois had the courage to tell me that I must instantly write to Lebel to give up all pretensions to her, or to come and take her at once.

"If I write and tell him to think no more of you, I must marry you myself."

"No."

With this no she arose and left me. I thought it over for a quarter of an hour, I weighed the pros and cons and still my love shrank from the sacrifice. At last, on consideration that my housekeeper would never have such a chance again, that I was not sure that I could always make her happy, I resolved to be generous, and determined to write to Lebel that Madame Dubois had decided of her own free will to become his wife, that I had no right to oppose her resolution, and that I would go so far as to congratulate him on a happiness I envied him. I begged him to leave Soleure at once and come and receive her in my presence from the hands of her worthy mother.